From Military Regime to Current Moment

Washington University in St. Louis
Washington University Open Scholarship
Undergraduate Theses—Unrestricted
5-2013
Evolutions in Class Visibility, Morality, and
Representation in Chilean Teleseries: From
Military Regime to Current Moment
Sadie Smeck
Washington University in St Louis
Follow this and additional works at: http://openscholarship.wustl.edu/undergrad_open
Part of the Latin American Studies Commons
Recommended Citation
Smeck, Sadie, "Evolutions in Class Visibility, Morality, and Representation in Chilean Teleseries: From Military Regime to Current
Moment" (2013). Undergraduate Theses—Unrestricted. Paper 28.
This Dissertation/Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in
Undergraduate Theses—Unrestricted by an authorized administrator of Washington University Open Scholarship. For more information, please
contact [email protected].
Evolutions in class visibility, morality and representation in Chilean teleseries:
From military regime to current moment
Sadie Smeck
An Honors Thesis in International and Area Studies, Latin American Studies Track
Ignacio Sánchez-Prado, Advisor
Tabea Linhard, Second Reader
Submitted in partial fulfillment of the requirements of the Honors Program in
International and Area Studies and the Baccalaureate Degree in the College of Arts and
Sciences
May 7, 2013
Smeck 2
ABSTRACT
This work begins by exploring the concepts of class and class-consciousness as
they are represented in the Chilean teleserie, Pobre Rico (2012-13), examining elements
of class-marked aesthetics, linguistics and spaces in Santiago as these are manifested in
the television program. The work will question how these representations relate to
national, urban realities, and problematize the manner in which they at times reflect,
exaggerate and/or misrepresent particular attitudes, dynamics and realities of class
stratification in present-day, urban Chilean society. The work then examines how
representations of class in Chilean television and media have evolved in the past three
decades, since the final years of General Augusto Pinochet’s military regime (19731990). This study progresses through three “phases” of teleseries, from the end of the
military regime through two decades of democratic transition, examining a parallel
transition and thematic opening with respect to class representation in fictional television
shows. All programs analyzed in this study aired on Chile’s national network, TVN,
which underwent congressionally mandated reform following the end of the dictatorship.
INTRODUCTION
In the second half of the twentieth century, the telenovela, or soap opera, became
one of the most commercially successful industries worldwide, and arguably among the
most influential forms of media in Latin America. In Chile, over 95 percent of homes
have a television, and for a majority of citizens, the television serves as the main, or even
exclusive, source of cultural consumption, factual information and entertainment
(Subercaseaux 2006). The influence of the telenovela has historically functioned not only
Smeck 3
on a political or administrative level, with leaders censoring or sponsoring transmissions
of certain messages and discourses via the widely viewed medium, but also on a social
and cultural level, in the formation of what Benedict Anderson (1983) called “imagined
communities” and a sense of collective or shared identity. Telenovelas typically air five
days a week for an hour during prime time, with around 150-250 total episodes per
season. A 2003 documentary released by Films for the Humanities and Science,
Telenovelas: Love, TV and Power, calls fictional television the “machine that
manufactures and churns out the dreams of a society,” molding its collective
consciousness.
In Chile, the various industries of cultural production have undergone significant
changes since the early 1990s. The end of General Augusto Pinochet’s 17-year-long
military rule and the return to democratic governance in 1989 marked the beginning of a
new political era known as La Concertación, or “the agreement.” The presidencies of the
country’s three successive leaders, Patricio Aylwin (1990-1994), Eduardo Frei (19942000) and Ricardo Lagos (2000-2006), were characterized by attempts, with varied
degrees of success, to differentiate their leadership from the government and political
climate under Pinochet. One of the deepest and most lasting effects of the Pinochet
regime was the manner in which its restrictive dominion over the public sphere
fundamentally shaped cultural production. The neoliberal economic policies of the
general’s administration opened free trade with other nations, stressing free market
Capitalism in order to grow the domestic economy and fortify modernization efforts.
While successful in furthering the nation’s development and net economic growth, the
neoliberal policies favored the wealthy and privileged few, dramatically widening the gap
Smeck 4
between the city’s wealthy and poor. The military coup not only disenfranchised much of
the middle and lower class workforce, but the State’s focus on fostering international
relationships and national commercial success, growth and surplus tended to ignore and
exclude these groups from many aspects of social and cultural life in Chile.
In addition to its strict neoliberal policies, the Pinochet regime was marked by
sometimes-violent strictures on free speech and cultural expression. Subercaseaux
highlights three dominant discourses of the Pinochet regime whose effects on Chilean
culture and society were so deeply rooted during the period that they continue to shape
much of Chilean cultural expression today: authoritarian nationalism, spiritual
fundamentalism (traditional Catholicism and Opus Dei) and strict neoliberalism (2006).
He argues that a narrow focus on privileged subsets of Chilean society as representative
of national collectivity and idiosyncrasy hindered and conflicted with the production and
expression of a plurality of cultural forms and identities within the nation, including
indigenous peoples, immigrants and other minorities. Networks controlled by both
government entities and private companies favored elitist storylines and themes,
excluding many groups more representative of the majority’s national reality. The
predominant goal of creating a strong national identity and social body came at the
expense of representing the nation’s “plurality,” creating an environment in which the
formation of stereotypes and national archetypes was all but encouraged. Under the
Pinochet regime, Subercaseaux argues, culture became an “exchangeable good,” active
within and responsive to the global marketplace. In many respects, the focus of cultural
productions from art to film, on a national scale, shifted from cultural expression and
other humanistic aims (as in the previous adminstrations of Presidents Frei, Montalva and
Smeck 5
Allende) to stark efficiency and economic value. This was especially clear in massproduced culture industries, like film and television, where explicit censorship of themes
and content took place during the dictatorship, a period sometimes referred to as a
“cultural blackout” (Subercaseaux 2006, p. 2).
With political changes post-dictatorship, simultaneous economic, social and
cultural changes within the society became increasingly apparent in forms of expression
within the channels of cultural mass-production. The reduction or elimination of the
systems of control and fear that had dominated under the dictatorship allowed a thematic
opening in the cultural sphere. Many artists and intellectuals, who were exiled either
forcibly or electively during the dictatorship, began reentering the country, and their work
often included a response to the experience of exile or the military regime. While most
television shows retained a largely nationalist bent, they began to introduce topics dealing
with social realities that, under the dictatorship, would have been dangerous to discuss or
subject to censorship on television. The transformation was, of course, neither immediate
nor complete. Though tolerance and liberty in cultural productions and the media have
increased, television shows remain very much influenced by the logic and incentives of
conservatism and the market, where every aspect of content, style and form is driven by
the goal of high ratings and viewership. Despite post-dictatorship efforts toward
reconciliation and discussion of the injustices, such as the Comisión Nacional de Verdad
y Reconciliación, or “Rettig Report,” released in 1991 under President Aylwin, and the
National Commission on Political Imprisonment and Torture, or “Valech Report,”
released in 2004 under President Lagos, certain social and political topics remain
controversial or taboo (2006). For example, specific mentions of the dictatorship,
Smeck 6
including the tortures, murders, disappearances and other human rights violations that
took place under the Pinochet regime are largely avoided, as are political parties and
movements, with certain exceptions, as this work will later explore.
Chilean telenovelas have also undergone significant transformation with regards
to the issue of class. Under the leadership of Pinochet, Chile’s national channel,
Television Nacional de Chile (TVN), was subjected to censorship and content control,
both in its news coverage and fictional television shows. Jofré argues that the nation’s
“macrocircuits” of communication were contaminated by the pervasive, forced discourse
of the military regime, with its focus on the logic of the market and exclusion of wide
social sectors, and that this focus created a divide between a supposed “elite culture” and
the “popular” cultural forms (1989). The state used not only its strategic political control,
but also its purchasing power to fund propaganda campaigns in support of the military
government, communicating to the masses a supportive message of the authoritarian
regime. Through these campaigns, the state portrayed itself as a “protagonist in the
process of community development,” “recreating” communications to promote a stronger
connection to the viewing, listening and reading public (1989, p. 86).
Television Nacional de Chile began broadcasting in 1969, and aired its first
teleserie, Amelia, in 1981. In 1990, Congress mandated a reform of TVN and CNTV,
which had become irresponsibly managed and corrupt under the military regime. Law
No. 19.132, passed in March of 1992, revised the “mission” of the national channel; TVN
would be committed to serving the public, not only the societal elites, exhibiting
“pluralismo y objetividad en toda su programación” (Corro et. al. 2009, p. 64). In
response, the channel introduced a greater diversity of characters into its programs and
Smeck 7
teleseries, exploring both identities and topics that had been restricted during the military
regime’s strict media censorship. A general shift from melodrama to comedy aided in
softening this topical transition, allowing space for new ideas, characters and plotlines
with less gravitas or potential for controversy. The focus of much of the channel’s
coverage and fictional productions was turned inward; if not explicitly critical, at least
“self-reflective” (Corro et. al. 2009, p. 70). By 1993, TVN became a legitimate
competitor of the nation’s other leading network, Canal 13, surpassing the rival channel’s
teleseries average ratings that year. A higher degree of focus was placed upon
approaching a more accurate depiction of a realistic national portrait and commentary,
dealing with issues like discrimination and the plurality of identities within the country,
in relation to gender, political position, social class and other factors (Corro et. al. 2009).
In this work, I will first present TVN’s most recent teleserie, airing on the national
channel since April 2012, to illustrate certain features of Chilean consciousness and
cultural representation of class in the present moment, examining aesthetic, linguistic and
spatial distinctions in urban settings, and their underlying social and moral implications. I
have chosen to focus on solely the teleseries of TVN, the state-owned national television
channel that underwent congressionally legislated reforms during the early transition
period for the purposes of consistency and clarity of the relation between changes in the
political state and one form of cultural production over which it has historically exercised
power and control, the teleserie. I will then present three general phases in the evolution
of the national channel’s teleseries since the military regime, beginning with the final
years of the dictatorship and period before the national channel’s reform in 1992. During
this period, the genre was marked by an absence of any legitimate attempt to represent
Smeck 8
the lower or “popular” classes of Chilean society, apparent in programs like La Dama del
Balcón (1985), Mi Nombre Es Lara (1987) and El Milagro de Vivir (1990), in which the
focus of the story is placed almost entirely upon elite social actors and scenarios,
excluding pluralist identities, narratives and social experiences. The second phase, I will
argue, is characterized by the national channel’s initial efforts to democratize its fictional
content, during which members of the lower or “popular” classes appear in the programs,
but are represented in a reductionary manner, reinforcing stereotypes of delinquency and
dishonesty among the underprivileged masses. I will discuss Trampas y Caretas (1992)
and Jaque Mate (1993) to illustrate this phase, as well as an exceptional case, Volver a
Empezar (1991), the first series to air after the end of Pinochet’s regime and a precursor
to the 1992 mandated reform of TVN. Finally, I will argue the existence of a final phase,
in which the narrative of the “popular” masses becomes exalted and valorized, while
corruption and backwardness among members of the elite socioeconomic classes are
exaggerated. In contrast to the second phase, delinquency among characters of lower
socioeconomic status becomes the exception, whereas deception and disfunction among
the elites is portrayed as the norm. The shows Amores de Mercado (2001) and Puertas
Adentro (2003) will be analyzed to represent this phase. The study will conclude with
reflections on thematic evolutions within Pobre Rico (2012-13) and its socio-political
content.
CHAPTER ONE: Present-day class realities and fictions represented in Pobre Rico
Pobre Rico began airing five days a week during the evening television
primetime, 8 p.m., on April 23, 2012. In its first week, the show’s ratings quickly rose
Smeck 9
and it became the nation’s most-watched show by the end of the week, rated at 33.8
points (El Mercurio, April 28 2012). The show’s basic premise is familiar and simple:
two baby boys are switched at birth in a Santiago hospital; one, Nicolás, is sent to the
extremely wealthy Cotapos family, while the other, Freddy, is sent home with the
working class Rivas family. Seventeen years later, when a betrayal by Nicolás’ mother,
Virginia Cotapos, with the best friend of Don Máximo Cotapos, her husband, is brought
to light, the paternity of Nicolás is called into question and genetically tested. The results
of the test show that neither Virginia nor Máximo are Nicolás’ biological parents, and a
search of hospital records identifies Eloísa Rivas, a single, working-class mother, as the
family with whom the Cotapos infant had been mistaken. Due to the high profile of the
wealthy Cotapos family within Chile, the switch becomes a national news scandal.
Shortly thereafter, a judge rules that each of the sons be returned to his biological family
for a period, forcing the boys to uproot and switch families. Throughout the series, this
situation reveals prejudices in both families, which, while theatrically exaggerated, often
reflect commonly held attitudes with regard to social class and related discourses of
morality in modern Chilean society, along with their political and cultural underpinnings.
Pobre Rico puts on display the extreme degree to which socioeconomic class is a
conscious, omnipresent and powerful influence on present-day social interactions in
Chile, especially in its sprawling metropolitan capital, Santiago. In line with the
teleserie’s foundational plot and theme of class distinction, many aesthetic and
audiovisual aspects of the teleserie underscore polarization among social classes by
exaggerating stark differences between groups of characters in the series. The Cotapos
family, in which Nicolás was raised, is one of the most wealthy and influential in
Smeck 10
Santiago. The patriarch, Don Máximo, is a highly successful and respected businessman,
the fictional CEO of an actual Chilean enterprise called Copec, an energy and forestry
company with a line of gas stations throughout the country. The Cotapos family’s
grandiose home and extravagant lifestyle embody the height of luxury and excess. The
mansion, situated in an exclusive residential community in the prestigious northeastern
outskirts of Santiago (later explicitly identified as an actual comuna called “La Dehesa”),
is impeccably decorated and maintained by a full staff. A live-in “nana,” Sonia, who
cares for the children and cleans the home, further accentuates the opulence and idleness
of the Cotapos family, especially that of Virginia, the matriarch. By contrast, the Rivas
family, where Freddy Peréz is raised, purports to represent a typical working class family
in Chile, where the matriarch, Eloísa, is a hardworking single mother employed in the
convenience store attached to a Copec station. Their home in a densely populated central
comuna is humble, decorated traditionally and centered on a small kitchen and living
room. When Nicolás moves in with his biological family, he shares a small, cramped
bedroom and bunk bed with his younger sister, Megan. In contrast to the Cotapos family
meals with a menu and full wait staff, the Rivas are shown in early episodes dining on
“completos” and “as,” or hotdogs sold from a street vendor’s cart. The Rivas home is
constantly filled with visiting friends and neighbors, a far cry from the secluded and
highly private Cotapos family residence.
Two contrasting archetypes established in the teleserie reflect the baseline popular
social classifications (stratifications) within Chilean society in the present moment: the
figures of the “cuico” and “flaite.” The dichotomy of these archetypes represents one of
the defining features of Chilean class-consciousness today; as simplified, standardized
Smeck 11
labels, they are easily identified and assigned. Mainframe Diccionario de Modismos
Chilenos, a website that compiles multiple definitions of Chilean slang terms based on
free and open postings by the public, defines the term “cuico,” with words and phrases
like “wealthy,” “high class,” “behaves like a noble,” “right-wing,” and “exclusive
neighborhood.” Definitions of “flaite” (alternately spelled “flayte”) found on Mainframe
are marked by descriptions of physical appearance and “rapero” identity (baggy pants,
thick gold chains), relegation to the western zone of the city, delinquency, marginality
and a low level of education. In Chilenismos Dictionary and Phrasebook, Daniel Joelson
defines “cuico” as a noun or adjective: “yuppy, wealthy and arrogant person,” and flaite,
also a noun or adjective as “vulgar, coarse” (2005). As I will argue, particular aesthetics,
speaking styles, and positioning within the actual social and physical cartography of the
city of Santiago mark both the “flaite” and “cuico” identities found in the teleserie Pobre
Rico. However, these terms are relatively new to the Chilean slang vernacular. The
Diccionario Ejemplificado de Chilenismos, published in 1985 by the Academia Superior
de Ciencias Pedagógicas, suggests that the original term “cuico” did not yet have a direct
relation to class. Under the category of “Coa,” the invented slang dialect among
delinquent and lower class members of Chilean society, the term “cuico” means: “Que no
sabe o no tiene dominio o habilidad en cierta cosa,” not signifying wealth, but rather
impotence (ASCP 1985, p. 1519). The term “flaite” does not appear in the volume.
In post-transition television shows like Pobre Rico, these distinctive aesthetics
are very present, but are only a part of the discourse of the different social classes, which
also places some emphasis on political post-dictatorship topics such as the failings and
shortcomings of the Capitalist State. In Pobre Rico, the concerns are addressed in a
Smeck 12
relatively significant way, principally through the character of Freddy who, raised in a
low-income barrio, has the apparent, outward contempt for the nation’s upper classes and
corporate giants associated with the “flaite” identity. In the pilot episode, on a visit to
Don Máximo’s office building, he spray paints a crossed-out dollar sign on a piece of art
hanging in the lobby. Later in that episode, he listens to the song “La maquinita,” by the
leftist Chilean musical group, Juana Fé, whose lyrics decry the pursuit of material success
(“La plata no vale nada!”). Freddy’s leftist political ideology is further reflected in the
presence of Che Guevara iconography among his belongings, printed on several of his tshirts and posters. Freddy dresses informally in the initial episodes of the show, wearing
baggy pants, cut-off sleeveless t-shirts and loose-fitting sneakers similar to the knock-off
Nike “Flighters” from which the term “flaite” is theorized to have been derived. In
Episode Two, Freddy says he prefers his own “pinchas” to the expensive “ropa cuica”
that the Cotapos family offers when he moves into their home. His character complicates
the dynamic of the happy, ignorant and simplistic poor person seen in earlier iterations of
the Chilean teleserie, and shows that he values the barrio where he was raised not because
of it’s idyllic simplicity, but because of the mutual struggle, structural violence, and
exploitation that have unified him with his friends there.
The show establishes a dichotomy and tension between the two families, not only
socio-economically, but also morally. Freddy proudly resists assimilation into the
extravagant lifestyle of the Cotapos family and makes an effort to reject the material
comforts and excesses he experiences there. As he begins to work at the office with Don
Máximo in Episode 14, Freddy resists assimilating into the “cuico culture,” or even
wearing a suit, and discounts the notion that he might have “un buen ojo para negocios.”
Smeck 13
By contrast, as Nicolás adjusts to his life in the barrio quickly, expressing contempt for
his father, Máximo, whom he says ignores him and only cares about money and his work,
and refuses to go home with his mother when she comes to collect him in violation of the
judge’s decree. He is embraced by the open and caring Rivas family, and begins to bond
quickly with Megan, his biological younger sister. Shortly after the move, for the course
of one episode, Nicolás temporarily develops, with Megan’s help, an alternate “flaite”
personality, attempting to assimilate into the barrio culture and performing social class by
dressing, speaking and acting based on his perceptions of the “flaite” archetype.
The discourse of superior moral standards among the lower classes has another
aesthetic manifestation in the series through the general beautification and idealization of
the lower class Rivas family and the barrio in which they reside. Despite the family’s
supposed state of “poverty,” Eloísa appears made-up, well dressed and healthy in each
episode. Her physical attractiveness and high moral standards combine to form a major
sub-plot early in the series, as Don Máximo expresses his adulterous interest in her and,
though tempted, she resists his advances, praying to God for help in doing so. While
religion played a more significant role, as this work will explore, in the discourses of
class and morality in earlier teleseries on the national network, the discursive role of
religion in Pobre Rico is relatively limited, a trend attributable to marked secularization
and progression away from strict, traditional religious values in post-dictatorship Chile.
One of the strongest apparent discourses of moral division among social classes
can be seen in the juxtaposition of Virginia Cotapos and Eloísa Rivas. The conflict of the
series’ pilot episode is founded in Virginia’s bitter sexual betrayal of Don Máximo with
his best friend, and throughout the show, Virginia’s idleness, jealousy and quick temper
Smeck 14
are emphasized, while Eloísa’s virtue and generosity are simultaneously highlighted.
While Virginia cruelly and coldly rejects Freddy as her son, Eloísa embraces Nicolás
with genuine care, acknowledging the difficulty of his transition and making an effort to
show him “el lado bonito” of life in the barrio. Perpetual energy and an upbeat attitude
define Eloísa’s character, while an almost clinical eccentricity, judgmentalism and
consistent malice characterize Virginia’s disposition. While Virginia coddles and defends
her son endlessly, Eloísa is warm, but pragmatic with Nicolás, holding him accountable
to basic standards of reliability as he begins to work with her at the Copec station.
Throughout the show, the juxtaposition of the wealthy class’ immorality and idleness
with the working class’ virtue and strong work ethic remains significant. Of course,
exceptions and complications to this simplified dichotomy can be found in characters and
scenarios throughout the series, such as Nicolás’ biological father, Juan Carlos, a
mischievous and manipulative homeless man who works for donations of tips, sweeping
around the graves in the Cementerio General, and Alex Garrido, a generous and
upstanding millionaire who befriends and proposes marriage to Eloisa later in the series.
As in most cultures around the world, speaking style is one of the greatest
perceived indicators of social class distinction in Chile. Certain deviations from the
“standard” form of speaking often hint at several things about a person, among them
gender, education, socioeconomic status and age. However, a study of linguistic forms
that does not take into account the influence of situational factors on speech, such as
setting, style (ie. careful versus casual), emotion and topic of conversation, can lead to a
reductionist analysis of its manifestations in a society (Medina-Rivera 2011). Speaking
styles present in Pobre Rico, for example, cannot be simply categorized into upper and
Smeck 15
lower class forms, “cuico” and “flaite” forms, but rather with attention to situational
considerations. This analysis will begin with an explanation of standard and deviated
linguistic forms before going on to explore complexities within the Chilean linguistic
landscape.
Chilean Spanish pronunciation, at all levels of society, is marked by particular
tendencies of deletion, shortening, and alteration of letters and words. In casual settings,
deviation from the standard form of speaking occurs in several ways, such as (s)-deletion,
where, for instance, the word “más” is pronounced “má.” This deviation is also found in
contexts throughout South America; Medina-Riveras’ study of this linguistic deviation in
Cartagenas, for example, showed a reduction of 30-40 percent in the incidence of (s)deletion when citizens of all classes were asked to read words from a list compared with
the measurement of their (s)-deletion tendencies in an informal setting. Though the
deletion occurred in most cases regardless of social class, its incidence was higher among
lower and lower-middle income citizens in both formal and informal settings. Deletion of
the letter “/d/” is also common in informal or lower class situations, where, for example,
the word “nada” becomes “na’a,” or “hablado” becomes “habla’o.” Bentivoglio and
Sedano also distinguish a related deviation of the preposition “para” and its abbreviated
form (with /r/-deletion) “pa’a” as a particular case. While the abbreviated variation of the
preposition is commonly cited as an indication of the speaker’s low socioeconomic level,
the linguists found in a study that even upper income, educated individuals abbreviated to
“pa’a” in informal settings in which they are speaking rapidly (2011).
Informal Chilean Spanish is also highly marked by the presence of the diminutive
form (“ito/ita”), attached to words as a means of conveying affection, softening a
Smeck 16
command, or expressing immediacy (ie. “ahorita”). Though this tendency can be seen at
all levels of Chilean society, it is used most frequently in the speech of individuals with
low income and/or education levels. In the series, Eloisa is the character that most
frequently employs the diminutive form, suggesting that this deviation from the standard
speaking style is a more significant indicator of social class identification than either of
the deletion forms [(s) or /d/]. Another class-marked deviation from the standard, the
shortening and alteration of the informal “tu” verb form can be found at all levels of
society in informal situations. Phrases like “me llamis” and “¿que queri?,” where “tú”
form verb endings have been shortened, changed and/or accompanied by a deletion, are a
deviation marked much more strongly by age (youth) than by class or gender, as the
series reflects. Eloísa and other adult characters in the barrio use the altered informal verb
form, reflecting lower social class identification. Another deviation that seems to occur
almost exclusively among lower social class speakers or in ultra-informal settings is the
use of the pronoun “vos” in place of the pronoun “tú.” In Chile’s lower classes, the “vos”
form is used as an exaggerated form of the informal, inconsistently employed among
informal conversational partners, and followed by either the standard or shortened “tú”
form of the verb (ie. “¿Que queri vos que yo haga?”).
Chile is known throughout the Spanish-speaking world for its prolific slang
vocabulary. Some of the particularly Chilean slang forms can be found across social
classes and in a wide spectrum of situations in Chile, especially the nation’s urban center,
Santiago. The shortened form of “pues,” or “po,” is one example; as perhaps the most
omnipresent Chilean slang form, the word “po” is characterized by its versatility and
frequent presence in daily conversation. Though it is used in informal settings, and to
Smeck 17
some degree connotes a distinction of class when used in more formal situations or
conversations, the abbreviation maintains a strong presence in the speech of Chilean
citizens at all levels. Certain slang vocabulary and speaking forms in Chilean Spanish,
however, are highly marked by class distinction. These forms are used in the series’
scripted dialogue to accentuate social class distinctions among characters whose often
rather slight aesthetic distinction might distract from the show’s thematic aim to portray
class-related polarities. Characters like Freddy, his girlfriend from the barrio, Claudia,
and his best friend, Rodrigo, use these forms most frequently in the show, representing
the particular dialect and socially codified forms of speaking among youth of the lower
classes, including, but not limited to, the “flaite” identity. In episode two, Claudia extols
the expensive shoes, or “zapatillas,” that the Cotapos family has given to Freddy. “Son
terrible de caras!” she says. “Son pulentas!” Many of the slang terms or shortened forms
to express appreciation or approval (ie. “-ueno,” “pulento,” “bakan”) are strong markers
of informality among youth, and of low social class among adult speakers. Further,
phrases like “terrible de” to signify “muy” and “flor flai” to signify “todo excelente” are
highly class-marked and stigmatized outside of communities of low socioeconomic
status. It is important to note, however, that these forms result in not only distinction from
mainstream culture and higher classes of society, but also socially significant inclusion
and notions of loyalty to lower-class social circles and residential communities.
According to the argument of sociolinguist Niño-Murcia, linguistic characteristics are a
highly important identity marker, and the use of established linguistic norms within these
communities can demonstrate identification with and loyalty to a particular social group,
both at the upper and lower levels of a society (2011).
Smeck 18
The names of the characters in the series also reflect similar demarcations of class
in Chilean society. According to theatre and literature professor Cristián Opazo of the
Pontificia Universidad Católica, names in Chilean society often reflect socioeconomic
class in significant general patterns (lecture April 2012). A Hispanic first and last name,
like Nicolás Cotapos, has ambiguous class connotations, with potential placement in a
higher or lower stratum. A Hispanic first name and Anglo/European last name,
meanwhile, usually connotes a higher social status, based on a culturally valued European
lineage. By contrast, an Anglo first name paired with a Hispanic last name is a strong
indicator of lower social class rank. The Mainframe Diccionario de Modismos Chilenos
features a list called “Flaite (nombres de mujer),” which includes the following:
Kimberly, Brittany, Yessica “(con y),” Sharon, Janet, Yosselin, Cathy, Maybelline,
Hellen, Samantha and Marilin. In the series, Freddy Peréz and his younger sister, Megan,
exemplify this social reality. When Freddy comes to live with the Cotapos family in
episode one, Máximo Cotapos expresses to his wife his distaste for the name “Freddy”
and resolves that the name must be legally changed to “Alfredo” so as not to embarrass
the family. Cotapos addresses his biological son only by his new name, which confuses
Freddy and upsets his mother, Eloísa Rivas.
In Chile’s capital city, the subject of social class is far from taboo, and derogatory
terms exist on both extremes of the socioeconomic spectrum. The apparent consciousness
of class distinction in Chilean society is made explicit in the series through various
conversations among characters that directly address class difference. Characters like
Julieta (daughter of los Cotapos), Martina (Nicolás’ supermodel girlfriend) and Virginia,
for example, exaggerate attitudes of class separatism in initial conversations with Freddy;
Smeck 19
each addresses him directly about the social class disparity between the highly reduced
and simplified “upper” and “lower” classes, almost as if these distinctions were
biologically determined. Julieta’s conversation with Freddy in Episode Four reveals her
fierce prejudice when she says in a biting tone, “Hermano biológico, pero hermano de
clase nunca.” Martina, enraged when Freddy spontaneously kisses her in Episode Three,
calls him “desubicado” and yells, “Flaite! No tengo nada que ver contigo! Somos de otra
clase!” In episode one, Virginia worries aloud in as she reads the newspaper where
Nicolás is pictured on the front page, working in uniform at the Copec station, “Por ser
marginal, la sociedad lo va a rechazar!” The show simplifies the socioeconomic divide to
its extremes, without a marked effort to represent the middle class, erasing many of the
complexities implicit in class definitions (Medina-Rivera 2011).
Santiago is a sprawling city of vast inequality and stark segregation. Within its
system of thirty-two “comunas,” or small administrative municipalities, divisions of
socioeconomic status are overwhelmingly pronounced and conscious. The metropolitan
region’s northeastern sector, including the comunas of La Reina, Las Condes, Vitacura
and Lo Barnachea, as well as parts of Providencia, Ñuñoa, Peñalolén and La Florida, are
characterized by a high concentration of the city’s wealthiest families. According to
research conducted by the Chilean marketing firm GeoAdimark and published in 2006,
Santiago’s wealthiest income bracket, whose average income is equivalent to US$6035 a
month, makes up just over 11 percent of the city’s population. Around 20 percent of the
city’s population occupies the second socioeconomic tier, with an average monthly
income of US$2259, less than half of what the highest tier earns on average (see figure
next page).
Smeck 20
Sabatini highlights two important changes in recent decades that have contributed
to increasing residential segregation: the liberalization of the land market and the
overwhelming trend of economic and cultural globalization (2001). He argues, both
factors have resulted in the concentration of elites and expulsion of the impoverished to
peripheral zones of the urban sphere. When Santiago began its growth and modernization
in the 1930s, the city’s population was concentrated in the city center, the comuna called
“Santiago.” However, as the city’s population grew and its center became increasingly
commercialized, diversified and subject to crime and poverty, the wealthy fled outward
and constructed privileged sectors of the city, leaving much of the city center and its
peripheral areas to the poor. Sabatini asserts that, while the two concepts are intimately
related, spatial segregation is distinct from social inequality (2001). In fact, he suggests
that the historical development of segregated and class-concentrated zones has
Smeck 21
contributed not only to exclusive social practices, but also inclusive ones, claiming that
marginalized and privileged groups alike now use their place of residence as a “form of
affirming their identities,” much like class-marked speaking styles. In Pobre Rico, the
influence of spatial situation within the urban landscape upon identity formation is a
prominent theme, and one that largely reflects attitudes and social markers that exist in
Santiago, both presently and in the city’s recent history. When Freddy leaves the barrio
for the city’s wealthy sector, for example, his family and friends express concern that he
will lose his sense of belonging and community among them, a complication that
continues throughout the series.
Corro et al. refer to “privileged spaces” of interaction among members of distinct
social classes in cinematic and television productions in Chile of the 1990s. The street,
plazas, beaches, cafés, discotheques and other locales in the public sphere allow for
interaction among actors of differing socioeconomic status (Corro et. al. 2009). These
spaces, which García Canclini refers to as “micro-social structures,” are often marked by
class connotations of their own (1995, p. 209). Closed, intermediary spaces like
Máximo’s office also figure into the discourse of class-based hierarchy and transgression,
where “los conflictos de clase y de género…motivan muchos argumentos
melodramáticos” (Corro et. al. 2009, p. 89). In the teleserie, members of differing socioeconomic groups transgress the typical spatial boundaries between socioeconomically
distinct groups in Santiago, entering one another’s homes and private spaces because of
an outlandish, dramatized situation. Those transgressions allow for the expression of
outward discomfort and tension among characters that find themselves in unusual
positions, both spatially and relationally. Later in the show, when Eloísa moves from her
Smeck 22
home in the barrio to the gated community in La Dehesa with her fiancé, Alex, the series’
drama and plot raise concerns about leaving her friends and community, as well as
questions about whether her humble origins or new, elevated socioeconomic situation
define her place within society, exploring the notion of “environmental determination” in
one’s social status in Santiago (2009, p. 97).
Segregation takes place not only among but within communities. While the “elite”
communities of Santiago are highly segregated from other areas of the city, segregation
within those communities might be considered relatively low, as the disparity in average
incomes within a residential sector can be extremely high, often greater than 200 percent,
since “second tier” of Santiago’s socioeconomic elite earns, on average, less than half of
what the “top tier” earns on a monthly basis (Sabatini 2001). Within the city’s wealthiest
residential communities, such as La Reina, Providencia and Ñuñoa, those somewhat
socioeconomically disparate groups frequently coexist. Transitional comunas in the midto southeastern sector of the city, like Macul, La Florida and Peñalolén, have even greater
socioeconomic diversity, housing families with incomes ranging from the wealthiest ten
percent to the poorest ten percent of the city’s inhabitants. On the other hand, within
comunas and areas in which incomes tend to be lower, marked by a high degree of social
homogeneity, poverty is both segregated and concentrated, resulting in large part from
the stigmas that form around particular impoverished regions and neighborhoods. Areas
with the largest concentration of family incomes in the lower 10 to 40 percent tend to be
both isolated and socioeconomically homogeneous. In the teleserie’s pilot episode, a
conversation between Martina and Freddy ends in a shouting match about who, through
the experience of swapping environments, is learning more about the “real Chile,” Freddy
Smeck 23
himself or Nicolás. In their conversation, the two refer explicitly to particular comunas
and neighborhoods of Santiago, those with which each identifies his/her own version of
“los realidades del país.” Martina decries “comunas picantes,” and Freddy, the “comunas
cuicas.” The argument ends when the two decide that they will never agree on the topic.
Segregation within the cartography of Santiago deals not only with geographically
delineated political-administrative regions, like comunas and provincias, but also with
social spaces within the city that have been defined in relation to socioeconomic, cultural
and political trends throughout the city’s history. Due to rapid economic globalization
and capitalization of the city in the past half-century, the emergence of business centers,
offices, malls, supermarkets, hotels, entertainment parks, movie theaters and other social
spaces have emphasized the economic and social disparities within and among the city’s
geographic regions. Public transportation, a democratizing feature of many modern cities,
is portrayed as a marker of class in the teleserie. Since the city’s first metro line opened in
1975, the system has expanded to include four additional lines, with two more planned
for completion in 2016 and 2017. Public transport underwent a massive improvement
effort in 2007 with the formal creation of “Transantiago,” by which routes and schedules
for buses, or “micros,” across the city were coordinated into a centralized system. With
its expansion in recent decades, the city’s public transportation system has come to be
widely used by most residents of Santiago on a consistent basis, especially for travel to
and from work, school and other daily commutes. However, among upper and uppermiddle class adults in Santiago, stigmas associated with the “lower class” surround public
transportation, especially the “micro” or public bus. Wealthy to upper middle-class
Smeck 24
members of Chilean society drive their own cars, and often reside in regions of the city
where neither the metro nor micro reach.
The topic of transportation causes considerable strain and explicit class distinction
among the characters of Pobre Rico, as Freddy’s friends and family must travel over an
hour by micro to visit him at the Cotapos home in the upper northeast sector of the city.
The show underscores Nicolás’ unfamiliarity and discomfort with public transportation,
as he is shown in the opening title sequence uncomfortably riding on a crowded micro,
while Don Máximo tosses Freddy the keys to a brand-new SUV. When Nicolás purchases
his first pre-paid “Bip!” swipe card to ride the metro with Eloísa, he comically comments
that “VIP” has been misspelled. Eloísa begins to cry on the way home with Nicolás in
Episode One when she sees a street musician performing on the micro bus, a common
manifestation of the city’s prolific informal labor market. She explains to Nicolás that she
and Freddy have always enjoyed listening to the musicians on the micro together,
emphasizing a shared cultural experience among many passengers on the micro, typically
members of a similar low to mid-level socioeconomic class.
Today, the city’s center of commerce lies not in the central comuna of Santiago,
as it did at the turn of the century, but in the northeastern comuna of Las Condes. This
elite business region, referred to informally as “Sanhattan,” lies more than an hour’s
commute on public transportation from much of the city’s western region, especially
during business traffic hours. The physical inaccessibility of the commercial hub is
compounded by other social and economic factors that impede entrance by underprivileged outsiders. Among these barriers to access are the high prices for public
transportation, expectations of education, appearance and speech, requirements of
Smeck 25
citizenship, resources to hire care for children or other family members at home during
the workday and a lack of access to privileged information about available jobs. Growing
crime and delinquency in the city center have also contributed significantly to residential
segregation, with overwhelming flight from the crime-ridden, low-income neighborhoods
and regions in the city’s western, southern and central zones. Safety in Santiago has been
commodified in recent decades with the explosion of “condominios cerrados” in the
city’s wealthy neighborhoods. The Cotapos family occupies both the elite commercial
and residential spaces of the city, outside of which they rarely venture.
CHAPTER TWO: Elitist Discourses in Media of the Military Regime and PreReform Period
The national network began creating soap operas at the beginning of the 1980s,
airing its first telenovela, Amelia, in 1981. By 1985, the teleserie La Dama del Balcón,
was the first on the national channel to be censured by the State for its content. Certain
episodes of the show were cancelled on account of controversial references made to the
Second World War, including German scientific experiments from the period and former
Jewish prisoners of war (emol.com, 2013). The show’s unusual plotline begins with an
art collector who purchases a painting from 1939 depicting a woman on a balcony, then
meets an identical Spanish woman, Olga, who is living in Santiago. The show concludes
with a revelation that the woman was involved in a genetic experiment during the Second
World War that has prevented her from aging, and that she also gave birth to an identical
daughter, played by the same actress in the series. While the program’s supernatural
element is somewhat atypical of telenovelas during this period, its socio-economically
Smeck 26
elevated and homogeneous cast of characters typifies the telenovelas produced during the
1980s. Aside from its explicit censorship of controversial content, this series exemplifies
the types of thematic exclusiveness and representational limitations that necessitated the
reformation of the national channel. This show, among others of the period, alienated
viewers on two levels: portraying events and characters with little basis in the national
reality, and limiting its scope to the society’s elite class. The show’s singular venture
outside of the realm of the elite involved the mysterious Olga’s romantic affair with a
Chilean gypsy man, Milkeno, whose superstitious family warns him that “Esa mujer atrae
la muerte.” However, the stereotyped portrayal of this subcultural group precludes any
attempt to explore a more nuanced representation of the minority and its incorporation or
transculturation within modern society.
The national channel’s 1987 teleserie, Mi Nombre es Lara, tells the story of a
young, classically trained ballet dancer, Lara, who is looking for work and living with her
mother. She is engaged to Alfredo, an employee of a commercial television station and
childhood friend. In the series’ opening scene, Alfredo is shown speaking with a fellow
employee at the station about Lara, recounting their plans to be wed in six months, and
his concerns about financing their wedding and married life. While the dialogue suggests
that he and Lara are struggling to make ends meet, aesthetic and other elements of the
show suggest otherwise. In the pilot episode, Alfredo is shown wearing clean-cut pastelcolored polos, khaki pants and a sweater tied over his shoulders, with no perceptible
difference in quality from the clothing of his superior at the station, Pablo Mondetti. He
also owns a motorcycle and has stable employment at the television station. Lara, despite
being unemployed and concerned about finances, lives comfortably with her mother in a
Smeck 27
typical, middle-class home, and dresses in high-fashion clothing and oversized jewelry.
In the series, Lara appears not only beautiful, but also glamorous, exceedingly well
groomed and dressed in the era’s latest fashions. Though she and her fiancé represent the
series closest attempt at a portrayal of the lower class, their concerns are clearly and
firmly seated within the middle class – any kind of real poverty or suffering is excluded
from the telenovela’s content entirely. A discourse glorifying notions of modernity and
wealth in a newly Capitalist society are emphasized in the series’ title sequence: a woman
on the telephone turns to smile at the camera, makeup artists surround the other female
characters, and others are shown in front of oversized film reels, a costume rack and
television monitors and equipment. As a classically trained ballet dancer, Lara represents
a privileged subset of the middle class, as she has had access to expensive lessons,
uniforms and equipment for a sustained period of time. While the pursuit of such a
pastime would not be possible for an impoverished family, the show does not mention
any significant change in the family’s socioeconomic situation that would shed light on
why a shortage of funds might have become a greater concern that it previously had been.
Lara’s dedication to an expensive and traditional activity like ballet, especially with
aspirations of making a professional career in dance, contrasts the notion of destitution
and struggle that the teleserie superficially projects onto the characters of Lara and her
mother.
The element of linguistics in the show likewise suggests a similar homogeneity of
class and exclusion of marginalized voices. Each of the characters – from the television
producers to Lara’s “pobre pero honrada”1 mother – speaks clearly, excluding perceptible
1
Ureta, Sebastian. “‘There is one in every home’: Finding the place of television in new
Smeck 28
linguistic markers of social class that appear in Pobre Rico and other post-dictatorship
teleseries that will be herewith explored. Only the content of the conversations among the
various characters in the series suggests discourse of class and im(morality). Initially
unable to secure a job dancing on a show at the commercial television station where
Alfredo works, Lara begins to work as a dancer at a Santiago nightclub. Her mother
expresses her scandalization when Lara’s agent comes to their home to discuss the
nightclub deal: “Pero, ella es una bailarina clásica!” Alfredo, too, is disappointed and
angry with Lara, telling her that she needs to find more “honest” work. He even threatens
to break off their engagement if she continues to dance at the nightclub. Lara briefly
raises the question of what such a declaration means for the nature of their relationship,
but the point is breezed over with a brief and only mildly heated conversation. Lara
seems not to morally question the job of dancing in the nightclub, and is both confused
and upset by Alfredo’s extreme reaction. But by the end of the pilot episode, the “moral
conflict” of Lara’s position at the nightclub is cleanly disengaged and resolved when
Alfredo’s boss Pablo, enamored with Lara, finds her a place on the station’s dancing
show. Lara quickly rises to fame, and her problems shift from the supposed class struggle
suggested at the beginning of the show to the pressures of fame and jealous colleagues on
the dance show.
The narrative of the nightclub highlights the connections between space, class and
morality in the show. At the nightclub, Lara wears a purple wig and is dressed in a
costume that is sequined and avant-garde, but not at all suggestive or revealing. The
dance, which Lara performs with three other unidentified girls, is neither risqué nor
homes among a low-income population in Santiago, Chile.” International Journal of
Cultural Studies. 11:4 (2008). 477–497. Print.
Smeck 29
sexually suggestive in any significant way. Further, the audience at the club includes
members of the middle and wealthier classes, among them Alfredo’s boss, Pablo
Mondetti, who recognizes Lara. He accosts Lara after the show, and like Alfredo, also
implores her to find more “honest” work. When Lara refuses to listen, Pablo exerts his
power over her, pulling her out of the dressing room by the hand. Lara’s lack of physical
resistance, inconsistent with her verbal refusals to leave the nightclub, cast her as weak
and easily dominated by the more powerful upper class male. Other spaces in the series
similarly connote certain notions of class, morality and modernity. The television
station’s state-of-the-art equipment, full staff of entertainers and media professionals, and
its power to distribute messages to millions of people, put the space in a position of
elevated social status in the developing urban society.
The narrow focus of the show is accentuated by how little of the city outside the
television station is visible. This fact results in part from technological inadequacies of
TVN at the time to film outside of an internal studio space until later in the decade and
during the 1990s (Corro et. al. 2009), but carries thematic weight as well in the
constricted view of both popular public and marginalized private spaces in the series. The
dramatics that occur in the television station throughout the show occur among a
privileged group of individuals, whose struggles, including their supposed monetary
struggles (as in the cases of Lara and Alfredo), occur within a space of particular
privilege. This limited scope, focusing only on the elevated and educated elites within the
society, precludes a discussion or portrayal of other realities in Santiago at the time.
While examples of later series in Chilean television history of examples which will be
explored in this work often include flawed and reductionary portrayals of the lower class,
Smeck 30
this show, among others during the 1980s, attempted to exclude exposure or
representation of the lower classes of Chilean society almost completely.
The first show to begin airing after the 1989 referendum that removed Pinochet
and his military regime from power was called El Milagro de Vivir (1990). Starring
Francisco Reyes (Máximo of Pobre Rico) in his soap opera debut, the show follows five
recent medical school graduates as they embark on their professional careers, beginning
with graduation from a prestigious medical doctorate program in the pilot episode. The
show represents the Chilean iteration of what had become an explosively successful
model in North America, with medical dramas like General Hospital and the first version
of ER in 1984. Though set in Chile with Chilean characters and context, the show can
hardly be said to represent (or even aim to represent) the realities of the country. The plot
cleanly distinguishes those doctors with “pure intentions,” like the honest and wellmeaning Miguel, from those who only care for money, like Reyes’ character, a greedy
and selfish plastic surgeon named Ricardo. Early in the show, however, even Ricardo
develops an empathetic personality when he meets Elcira, a young female patient whose
face has been badly disfigured by a burn, and falls in love with her almost instantly. The
discourse in favor of the benevolent wealthy class is evident in the plot: thought it is the
young patient, the common woman, who changes Ricardo’s heart, it is Ricardo, who
“saves” her from her condition of disfigurement and obscurity by bestowing on her his
affections. Corro, et. al. argue that the telenovela, a genre with major impact on
communities in Latin America, typically does not focus on stories of the “professional
hero,” such as medical or detective dramas, but rather most often “fictionally revalues the
problems of the home, the woman and the daily concerns of the common people” (2009,
Smeck 31
p. 148). The presence of a medical drama on the national network on the heels of the
newly-disbanded military regime and its adamant neoliberal globalism demonstrates the
continued influence of market logic and a disconnect between those in power and the
social and class-based realities and desires of their nation.
CHAPTER THREE: Political transition and discourses of exceptionalism
The first show to air on the national network following the fall of the military
regime was called Volver a Empezar (1991), whose storyline centered around the return
of exiled intellectuals and other “exiliados” from the military regime. Margot, a
successful writer who was exiled during the reign of Pinochet, returns to the country in
order to right her relationship with her son, Pedro Pablo and his wife. The series, whose
directly political and current plot topic had never before entered the publicly broadcasted
discourse, received an average rating of merely 14,7 points (Corro et. al. 2009, p. 127).
While this poor score may be attributable to a flop or a fluke, it is more likely that the
thematic content of the show was off-putting to viewers, causing discomfort with the
controversial topic of the dictatorship’s very recent regime change and its consequences
within the society. The show features many of the nation’s most popular and well-known
television actors –Yael Unger, Alfredo Castro, Francisco Reyes and Claudia di Girólamo
– and its story is constructed with a similar structure, character profile, setting and style
to previous shows on the national channel. As this study explores teleseries aired later in
the decade, we will see that many similar topics were met with more success and public
receptiveness as they were introduced more gradually and subtly into the public sphere.
Volver a Empezar was likely a case of too much too soon.
Smeck 32
The TVN teleserie produced in 1992, the year in which Congress mandated the
state channel’s structural and missional reorientation, was a show called Trampas y
Caretas. The show represents a response to the low ratings of Volver a Empezar with a
return to the more traditional plot structure and thematic focus upon the Chilean
bourgeoisie. The show begins with the setting of a wealthy widow, Carmen, in her
mansion estate, describing her two 30-year old twin sons to the lawyer who will be
managing the transfer of her wealth to them. Maximiliano, played by Francisco Reyes, is
responsible, calm and subdued, working as an art collector and commissioner, living in
the mansion with his mother and pursuing a classical study of the violin. Luis Felipe, by
contrast, is wild and a womanizer, resistant to settling down. Carmen expresses that her
only desire is to see the two of them married, happy and stable, but it is clear that her
priorities and expectations do not align with her sons’ priorities or timelines for their own
lives. The adult sons’ resistance to Carmen’s traditional values is portrayed in the show
as a fault and a hindrance to their success and proper social formation. Luis Felipe
represents an extreme of immaturity and sexual deviance, whereas Maximiliano is
stereotyped as weak and impotent for his slow and timid romantic progress with his
violin instructor, with whom he is plainly enamored.
Just days before Carmen has arranged to transfer millions of her wealth to her
indulged sons, Luis Felipe has arranged to be married to a mysterious woman whom he
has introduced to no one. As a gathering of family and friends await the bride’s arrival
outside the church, Luis Felipe approaches the limousine and extracts a stuffed, gorilla
doll in a bridal dress. Scandalized by the affair, Carmen becomes enraged and realizes the
disservice she has done to both her adult sons by supporting and indulging them
Smeck 33
financially. She decides to cut off their cash flow and tells them she’s taking a vacation to
Switzerland, during which time she remains in Santiago and undergoes plastic surgery.
Carmen returns after recovery looking young and rejuvenated, and begins work on a
project to construct a “Mall de las Artes” in Las Condes, featuring local artists alongside
retail stores. Concurrently, she hires Mariana, played by Claudia di Girólamo, to play
“matchmaker” for both of her sons, a woman whose boyfriend, Vittorio, played by
Mauricio Pesutic, is an artist who hopes to make connections with Carmen and her
project. In the pilot episode, Mariana and Vittorio have a conversation in their cramped,
loft-style home about a job offer Mariana has received from a business in Concepción,
about which she is thrilled. But as an artist, Vittorio says he must stay in Santiago, where
the major art scene of the country is located, in order to achieve success in his work. In
the course of a single conversation, Mariana agrees that she will not leave Vittorio for her
job in Concepción, though her opportunity there is more concrete than his situation as an
artist striving to be discovered in the city. Shortly after Mariana decides to stay with her
man in Santiago, she begins her lucrative work for Carmen, affirming her decision and
reinforcing the traditional values of the middle-class woman’s role in relationships and in
society. While the show questions the materialism of the elite class somewhat, its
representation of the “lower” socioeconomic strata of Chilean society is limited to
Mariana and Vittorio, who are more accurately situated in the middle class, and soon gain
access to exceptional opportunities through their connection with a wealthy and powerful
elite figure like Carmen. The discourse of the teleserie attributes the couple’s success to
their moral exceptionalism within the “lower class,” as if good nature and kind favor
Smeck 34
from socioeconomic superiors are the only means by which a marginalized individual
might elevate himself from his socially excluded status.
In 1993, TVN began airing a series called Jaque Mate, or “Check Mate,” a
remake of a 1976 Brazilian series, Xeque-mate. This show also deals with conflicts and
tensions among members of the upper class, this time, between two fictitious wealthy and
powerful Santiago families, los Quesney y los Moller. The two families have shared
ownership and management of the “Banco de la República” for decades, but the patriarch
of the Quesney family, Don Gabriel, is bedridden and unable to maintain his partial
ownership and oversight. Rodolfo, the scheming eldest son of the Moller family, takes his
father’s position, plotting to overtake the entirety of the bank by marrying Gabriel’s
daughter, Paula Quesney. He plots to bring the bank to a breaking point so that he can
rescue it, demonstrating his capability and heroism in order to seize full ownership.
Paula, however, is stubbornly resistant to Rodolfo’s persistent advances. When he puts
Paula in a trap by proposing to her at a cocktail party and telling her that she either must
marry him or a vagabond he finds on the street, Paula confidently chooses the vagabond,
played by Francisco Reyes. As the series progresses, it is clear that Paula intends to clean
up the vagabond, Nicolás, and prepare him to take over the family bank, which comes to
fruition at the end of the show. Nicolás (Nico), a drunkard and beggar, lives in a cluttered
warehouse with two men, Schwartz and Jonathan, and Chery, Jonathan’s girlfriend. As
Nicolás begins to interact with Paula, the series demonstrates a discourse of moral
exceptionalism; Nicolás is shown behaving more honorably in relation to Paula than his
friends who steal and drink constantly. To complicate the simple discursive dynamic,
however, viewers later learn, through conversations with a priest who befriends Nicolás,
Smeck 35
that Nicolás was formerly a top business executive driven to personal and financial ruin
by the rejection of a woman – none other than Paula’s sister, Isabela, who has since
moved to Los Angeles, USA with her gringo lover, where she goes by “Tess.” As Paula
helps Nicolás to get his life back in order throughout the show, underlying this narrative
is the knowledge that Nicolás is returning to a prior state of wealth and prestige,
discovering that he has not always been destitute and “immoral.” The show’s discourse of
Nicolás’ exceptional virtue within the delinquent and dishonest impoverished class is
undercut with notions of biological determinism, as Nicolás only slipped into poverty
later in life as a result of tragedy rather than socio-structural factors.
Another complication in the simplistic divide between wealthy and poor in the
show is the presence of Aldo, the son of the housekeeper and the driver of the Quesney
family, whom the benevolent Don Gabriel considered to be like his own son. Aldo works
in the bank and, until Nicolás enters the scene, is considered to be the Quesney family’s
only hope for maintaining ownership of their share of the bank. Aldo and his parents
reside on the grounds of the Quesney estate, and Aldo, through his job at the bank, has
one foot in each of the worlds with which he interacts. Developing a love interest with
Rodolfo’s younger sister in the series’ early episodes and sneaking out of work to meet at
her country club, Aldo finds himself in trouble with Rodolfo, his new boss, who punishes
him by sending him to work at another branch of the bank outside of Santiago. This
conflict heightens the tension within the Quesney family, and their pressure to find a
successor to Don Gabriel through reliance on Nicolás as their only hope.
Various aesthetic elements of the show reinforce this class-based moral divide.
Nicolás’ beggar friends who live with him in the warehouse are portrayed as crass and
Smeck 36
morally loose, speaking with their mouths full of food, cursing and drinking nearly
constantly. Schwartz, Jonathan and Chery dress in a grungy punk style influenced by the
1980s rock era, an alternative aesthetic that is comparable to the “flaite” style of the
current moment, a term and aesthetic that had not yet developed at the time this show was
created. The dwelling itself is dirty, dim and littered with discarded, broken furniture.
Nicolás’ bed consists of a humble frame and bare mattress among the piles of debris that
fill the space, with no indication of any effort toward upkeep. The four beggars are
juxtaposed with the morality of the local priest when they seek his financial help,
repainting the church to earn money but refusing to attend services. Sebastian, the head of
the house staff at the Quesney home, tells Paula that Nicolás “nunca se va a cambiar en el
fondo,” without the knowledge that “en el fondo,” Nicolás is a former member of the
elite himself. Though Nicolás does succeed in the end, it is unclear how much of his
success can be attributed to his past experience, status, and behavioral conditioning and
how much can be attributed to the hard work that any person would have to exert in order
to pull himself up and out of poverty.
The show also introduces a thread that has not been present in earlier programs on
the national network, and that is a direct representation of the urban middle class. A
subplot of the series follows a couple – the whining, materialistic, hyper-sensualized
housewife, Mímí, and her nervous, frugal accountant husband, Onofre, who live in an
apartment across from the practical but paranoid Jewish jeweler, Jacobo. These three
characters throughout the show come to represent middle class society in Santiago, Chile
through stereotypified notions and exaggerated archetypes. These characters’ connection
to the main plot of the series is peripheral, and the scope through which this majority of
Smeck 37
the urban Chilean population is examined is highly restricted and particular. Though they
represent an attempt to incorporate a broader and more diverse cast of characters in the
realm of the teleserie, the resulting vignettes are racist and narrow, reinforcing simple
stereotypes of class difference. Another important character, the priest, becomes an
intermediary between the upper and lower classes, arranging and facilitating the early
meetings and interactions between Nicolás and Paula. The presence of the priest and his
role as a mediator among individuals of distinct classes and walks of life demonstrates
the sustained dominance of traditional Catholic values in Chilean society at this historic
moment despite the secularization of the official state.
Linguistically, the series ventures to diversify the representation of classes, as
viewers are exposed, virtually for the first time, to class-marked linguistic alterations on
television. Among the elite characters in the show, los Quesney, los Moller, their friends,
business partners and even their staff, the characters’ speech is similar to the linguistics
present in previous teleseries, that is to say, of moderate speed and clear annunciation,
nearly void of any informalities or alterations. The middle class characters’ speech is
marked more by their individual idiosyncracy and stereotype – Jacobo’s Judaism, Mímí’s
high-pitched whining, Onofre’s anxious mumbling – than their shared class association.
The impoverished characters, however, Schwartz, Jonathan and Chery, all speak with
many of the linguistic markers also present in Pobre Rico with respect to a lower
socioeconomic status, including slang terms and deletions. After repainting the church’s
exterior in an early episode, for example, Schwartz complains to the priest, “Estamos re
cansa’os!” The names and nicknames of these characters, derived Anglo names, also
Smeck 38
demarcate a distinction of class, as was the case among several of Pobre Rico’s lowerclass characters.
Nicolás, a particular case among the others, uses altered linguistic forms in the
presence of his beggar friends, but in private conversations with elevated company such
as Paula, Rodolfo, and even the priest, he is able to speak with little or no linguistic
alteration, setting him apart, if only on a subconscious level, from other characters in his
socioeconomic situation. This series contains the first explicit mention of the term
“cuico” in a teleserie on the national channel; Nicolás uses the term in a heated
conversation he has with Schwartz, who is bothering Nicolás, half-jokingly, about
refusing Paula’s first marriage proposal. Nicolás asks Schwartz why he so adamantly
thinks that he should have agreed: “¿Por que?! ¿Porque es cuica?!” The term does not
appear commonly in the series, and when Nicolás uses it, the term carries the impact of a
biting insult, evident in the degree to which Schwartz backs down in response. This
reaction reflects the reality that the term has not yet become a naturalized part of the
Chilean slang vernacular, as it appears in later TVN teleseries including the most current,
Pobre Rico. From the first few episodes of the show, viewers are shown hints of Nicolás’
honor and stubborn pride, juxtaposed with the more shallow, immediate and immoral
desires of his companions. Nicolás confronts Paula about her marriage proposal in the
office of the priest in episode two, saying, “No soy objeto ni una cosa.” Later, in a letter
he writes apologizing to Paula, Nicolás writes, “No estoy por venta.” He initially resists
Paula’s advances, feeling objectified and forced into the Quesney family scheme, but
over the course of the show, Nicolás’ burgeoning relationship with Paula allows him to
accept and ease into a sense of responsibility to the family.
Smeck 39
With a greater diversity of spaces and settings shown in this series than in
previous shows, the discourses of class-based exceptionalism and (im)morality find still
broader representation. Beyond the class-marked aesthetics of domestic spaces and
spheres in the city (in this instance, the grandiose Quesney home compared with the
disrepair of the beggar’s dwelling place), exterior, public spaces like the church, Jacobo’s
jewelry store and a nightclub convey more nuanced messages of class. In the church,
Nicolás’ honorable pride is accentuated through honest conversations with the priest
about his past and current predicament. By contrast, when his fellow beggars accompany
him after painting the church’s exterior, Nicolás tells the priest, “Solamente estamos aquí
para ganar plata. Por favor, no sermones.” Apart from revealing plot and conflict to
viewers, the church serves as a device in the early episodes of the show to highlight the
immorality of the “godless” poor, who live their lives separated from the ways of the
church. This discourse emphasizes the show’s conservative orientation toward traditional
Catholic values. In the jewelry store, Jacobo, the Jewish owner, is victimized by both
members of the impoverished and wealthy classes; Jonathan and Chery are forceful with
Jacobo when they come to his shop to pawn Paula’s diamond bracelet they have found,
and Rodolfo hires a man to threaten Jacobo in his shop when he learns that Jacobo has
purchased the “stolen” bracelet. In Episode Seven, Jonathan and Chery are shown
dancing in a crowded nightclub, a space highly marked by stigmas of both low to lowermiddle class and loose morality, accentuating the portrait of their relationship in contrast
to the moral relational progression between Paula and Nicolás, mediated by the priest in
the church and later within the context of Paula’s home. Another intermediary space, the
office of Banco de la República, also carries a discourse of class and morality, as the
Smeck 40
perverse Rodolfo Moller moves into Gabriel’s office and removes Gabriel’s more
traditional decorations and portraits, replacing them with contemporary art, while Gabriel
is still in the hospital on his deathbed. This act scandalizes others who prefer to conserve
the room as Gabriel left it, at least while he remains alive, as a way to symbolize his
continued presence and influence.
Though the series addresses the issue of space in a more significant way than
previous teleseries on the national channel, it does so selectively, excluding many broader
discussions about spatial division that can be found in later series. In Episode Four for
instance, when Nicolás travels to the Quesney home to deliver a letter for Paula, the
series makes no mention of how he arrived or the distance he traveled from his poor
neighborhood to her exclusive, wealthy one. Whereas later shows, including Pobre Rico,
place significant focus on spatial segregation within the city, the role of public transport
and the inaccessibility of the elite communities to the outside population, Jaque Mate
does not address these concerns in a significant way.
CHAPTER FOUR: A Second Decade of Transition
The lucidity and candidness with which class is addressed in the Chilean teleserie
and other cultural productions undeniably increased in the later years of democratic
transition due to socio-structural and political shifts. Following a 1999 meeting of the
Congress of ICARE (Instituto Chileno de Administración Racional de Empresas), a new
form of classification of different sectors of the population, or “segmentation of the
market,” was introduced in Chile. The model, recommended by ESOMAR (Asociación
Internacional de Empresas de Investigación de Mercado) and borrowed from European
Smeck 41
contexts, divides the society into lettered categories called Grupos Socioeconomicos
(GSE): ABC1, C2, C3, D and E. Rankings are based upon two basic measurements: the
level of education of the head of household, and the possession of ten basic goods
(shower, color TV, refrigerator, dishwasher, water heater, microwave, cable or satellite
TV, computer, internet, vehicle). Marcela Miranda writes in the magazine “Que Pasa”
that a system of measurement that asks directly about income, rather than questions about
education and employment that have implications for income, is often met with a guarded
response, especially by upper income (GSE ABC1) individuals with concerns for privacy
and the security of their information. However, evidence from the 2002 census shows a
correlation between the two measurements, and demonstrates that the two-variable
system facilitates measurement (see figure below).
Adimark, 2002
GSE ABC1 families are characterized by a high number of basic goods and
university education, making up about 10 percent of the national population. Levels C2
and C3, just under half of the country’s population, are considered the “middle class.”
The “working poor,” or GSE level D, make up about 35 percent of the population, and
individuals/households at GSE level E, making up less than 10 percent of the population,
Smeck 42
live in extreme poverty, with a monthly income of less than 120,000 pesos, or around
US$250 (AIM 2008). The cited advantages of such a system of classification include
objectivity, simplicity, international comparability, and the fundamental relationship of
the variables to the purchasing power of a household and its individuals (Novomerc).
According to the AIM Socioeconomics Group Report, “Lo que buscamos entonces es
distribuir a la población en segmentos que discrimen respecto de su poder adquisitivo de
consumo, de su calidad material de vida, nivel cultural educacional y estilo de vida. La
idea no es replicar un concepto rígido de ‘clase social’ sino definir un ‘status
socioeconómico,’ que nos ayude a comprender los patrones de consumo y a estimar la
demanda potencial de los diferentes productos y servicios. La idea es entonces establecer
una graduación ideal entre los individuos de mayor nivel o status socioeconómico hasta
los menos favorecidos, quedando escalonados entre ambos extremos los restantes
miembros de la sociedad.” (AIM 2008, p. 2)
While the system’s practical application as a scientific and demographic
measurement has functioned more efficiently than past measures, its cultural implications
for class-consciousness, discrimination, segregation and auto-categorization within
Chilean society have been marked. In examining social structures in Chile from 19721994, German scholar, Max Koch (1999), sites a study by Pakulski and Waters (1996):
“To their mind, neither the concept of stratification nor the concept of class is able to
portray reality any longer; rather, a steady process of 'individualization' is leading us
towards a 'capitalism without class'. Instead of sticking to the idea of antagonism between
the classes of capital owners and wage laborers, or conceiving social structure in terms of
a stratum-like order according to income, education and prestige, it would be much more
Smeck 43
adequate to realize a pluralized structure of inequalities among the members of society.”
Koch developed his own structure by which to organize labor within the society,
categorizing jobs as either skilled or unskilled commercial, manual or service
occupations. Koch published his paper just before the implementation of the GSE system
in Chile, which arguably placed the concepts of stratification and class among Chilean
society’s most distinctly classifiable and measurable aspects. Since that time, the
European GSE model of classification has become a part of the modern Chilean lexicon,
in both formal and informal contexts, and the ideology of stark boundaries of class
distinction and stratification among socioeconomic groups has gained acceptance among
many urban Chileans. One definition of the term “cuico” in the Mainframe Diccionario
de Modismos Chilenos refers explicitly to the GSE classification: “Entre el promedio de
la poblacion es aquel con gran dinero, entre los ABC1 es aquel de alta alcurnia, con
antecesores importantes y descendiente de español.” The ideas of descent, race, education
and class are tied together in this and many of the other definitions offered for classbased slang terms on the Mainframe website.
By the new millennium, the thematic scope of the Chilean teleserie had widened
with regards to class-based social realities of Chilean society. A show produced in 2001
called Amores de Mercado, was based on Mark Twain’s classic, The Prince and the
Pauper. Its premise resembles that of Pobre Rico in that two members of distinct social
positions are driven by circumstances to switch places and assume new and unfamiliar
social roles. Much of the show takes place in the Mercado Central in the old center of
Santiago, where tourist-targeted restaurants have replaced what was once truly the central
marketplace for the city. One of the series’ main characters, Pedro, nicknamed “Pelluco,”
Smeck 44
works with his friends in competing restaurants in the Mercado Central. One day, Pelluco
witnesses a car accident outside the market and finds in the wallet of the unconscious
man an ID card identifying the man as Rodolfo Ruttenmeyer, and the photograph on the
ID card shows a man identical to Pelluco himself. The address leads Pelluco to a mansion
in La Dehesa, where he is mistaken for Rodolfo by the house staff and greeted with a kiss
by Rodolfo’s fiancé, Fernanda. She leads him through the house to their backyard
wedding, taking place that afternoon. Pelluco begins to explain the mistake and calls of
the wedding. But, enamored by Fernanda and the lavish surroundings he finds in
Rodolfo’s home, he decides to allow the confusion to continue for a time. Meanwhile, the
real Rodolfo awakes in a hospital with no recollection of who he is or anything before the
accident. Without his wallet, the doctors are unable to identify him, but soon, Pelluco’s
mother finds Rodolfo and mistakenly identifies him as her lost son. She brings him home
and, with the help of her family and friends, begins to teach him about his life and past.
The show introduces a diversity of certain social identities that had been largely
or entirely absent from earlier teleseries. Pelluco’s sister, Jessi, for example, is portrayed
with a style and identity representative of the “flayte” aesthetic, similar to that of Pobre
Rico’s Claudia. She dresses in loose pants and shoes, tank tops, fingerless gloves and an
off-center cap, and expresses her plucky pride for her neighbors and position in the
barrio, as do Freddy, Claudia and other young people from the barrio throughout Pobre
Rico. Another character that complicates typical assignations of morality related to class
and occupational space is a character called Shakira, who appears in a subplot of the
series. Characters throughout the series question Shakira’s morality as a dancer in a
nightclub, especially as she begins a romantic relationship with Esaú Galdames, a young
Smeck 45
man from an ultra-religious family. This dynamic creates conflict among Shakira, Esaú
and his family until the show’s concluding episode, when Esaú’s mother gives him her
blessing to be with Shakira, though she admits that she still does not understand or fully
accept Shakira’s occupation. Though conservative and Catholic values retain a presence
in the show through these characters, the element of religion in Amores de Mercado does
not take on a discursive role as in Jaque Mate, but rather serves a means by which to
examine the strictures of those values. Another minor character with thematic
significance is the flamboyant gay man who works as the bartender in the nightclub
where Shakira is employed. Though the man’s portrayal in the show is stereotypified, his
presence in the show, absent vilification by other characters or the discourse of the
show’s writing, represents a thematic opening and shift from Chilean teleseries of the
previous epochs analyzed here.
Another significant shift is apparent in the show’s representation of social class
difference and class-based notions of morality. In contrast to earlier representations of
lower socioeconomic status individuals as predominantly immoral, deviant and base,
Amores de Mercado portrays a mostly positive, if simplified, persona among members of
the lower class and residents of the barrio. Morally, the characters are not without fault;
indeed, the pilot episode introduces Pelluco’s deception, a love affair between Pelluco’s
mother and his best friend, and the questionable moral practices of several of the other
restaurant workers in the Mercado Central. Throughout the show, the characters of the
lower class are morally elevated, though not idealized to the same exaggerated extent as
characters of similar social positions in later shows, including Pobre Rico and this
chapter’s second text of analysis, the 2003 teleserie, Puertas Adentro. The workers of the
Smeck 46
Mercado are, however, simplified and, to a certain extent, idealized in their portrayal as
playful, jovial and childlike. For example, Pelluco’s first act upon deciding to remain at
Rodolfo’s home is to take a bubble bath in his oversized Jacuzzi tub. When the female
head of staff finds him in the tub and tells him to hurry up, Pelluco consents with false
sincerity, diving back into the bubbles when she leaves. In a later scene, and throughout
the show, a group of three female servers in a competing restaurant of the Mercado are
portrayed with exaggerated and childlike happiness, for example, giggling and splashing
one another while they work washing vegetables in the kitchen. Simplified syncretism
and superstitious religiosity of these women are also featured and exaggerated throughout
the show, calling attention to popular class- and education-based stereotypes placed upon
working class individuals, especially women, in Chilean society.
With respect to the upper class, this show presents an image of corruption, greed
and immorality among many in the younger adult generation. Rodolfo’s fiancé, Fernanda,
is revealed to be having an affair with his adoptive brother, Ignacio, who initially appears
supportive of his brother and their relationship. Later in the show, Ignacio secretly plots
to overtake the family business, Inversiones Ruttenmeyer, and ultimately shoots Pelluco,
whom he mistakes for Rodolfo, in the final episode of the teleserie. The older generation
of upper-class citizens in the series is represented with greater moral division. Rodolfo’s
mother, is revealed to be pursuing affairs outside her marriage, but his father is portrayed
as earnest, honest and fair. At the end of the series, when the truth of the mistaken
identity comes to light, Rodolfo’s father embraces Pelluco as a part of the family, despite
his deceptive behavior and humble socioeconomic origins. Distinctions of class-based
morality and exceptionalism in this show are less divisive than they appear in previous
Smeck 47
shows, with both corruption and honesty playing more balanced roles in each social
group represented in the series.
One of the strongest thematic illustrations used to discuss and represent class
difference in the series is the characters’ use of language. With a tone of both confusion
and worry, Fernanda repeatedly notes the “strange” way in which Rodolfo (Pelluco) is
speaking, while Pelluco, seemingly unaware, or at least forgetful of the marked linguistic
difference between them, brushes off her concerns. In one of the couple’s first
interactions in the pilot episode, Fernanda asks, “¿Por qué hablas así, tan distinto?”
Fernanda is initially off-put when Pelluco refers to her with the class-marked, popular
term of affection, “mi reina.” At dinner with a group of Spanish business executives,
Pelluco speaks informally, to the discomfort of his colleagues, even making a toast with
the popular phrase, “Arriba, abajo, al centro, adentro!” Fernanda again expresses
confusion, with more specificity as to the class-based nature of her concern, “¿Que te
pasa Rodolfo? Pareces…no sé…roto.” The term, “roto” in such a context, connotes
specific notions held by the accommodated class of delinquency and malformation,
educationally and socially, among lower class citizens, an idea that, later in the decade,
was resignified in relation to the “flaite” identity and its contrasting term, “cuico.” By
contrast, the Spanish business executives receive Pelluco’s informality well in this scene,
laughing along and agreeing to the business deal he proposes, suggesting a subliminal
narrative of naturalization and de-stigmatization of popular linguistic patterns.
Throughout the series, however, contempt for the socioeconomic “other” is shown
from both the elevated and underprivileged classes. In the final episode of the series,
Jessi, upset that her mother never told her about Pelluco’s lost twin brother, addresses
Smeck 48
Rodolfo with biting contempt, using slang labels of class and specific, class-marked
identities of place: “Un hermano cuico, directamente de La Dehesa!” Later in that
episode, before the entire family, Ignacio mocks Pelluco for his employment in the
Mercado and Rodolfo for bringing his working-class girlfriend, Pelluco’s next-door
neighbor, Betsabé, to a celebratory family gathering: “No contento con llenar la casa de
rotos, nos presenta a tu novia popular!” The naming of characters also presents a
significant discourse of class in the series. The assignment of nicknames (ie. Shakira,
Pelluco, his father, “El Chingao,” his mother, ‘La Morocha,’ and friend from the
Mercado, “El Clinton”), Anglo first names (ie. Jessi, Vicky, Connie) among characters of
a lower social class serve to distinguish them on a basic, linguistic level from socially
elevated characters with more traditional Hispanic names and Anglo last names (ie.
Ruttenmeyer) serving to underscore their elite social status.
The importance of the element of space in the teleserie is apparent in the title of
the series. The Mercado becomes a central motif in the show and a means by which to
portray and discuss class distinction and its spatial manifestations and dimensions in
modern Chilean society. A stark contrast is immediately established between the barrio
and Mercado where Pelluco and his family live and work and the office building and
mansion in La Dehesa that Rodolfo and his family occupy. Literally and symbolically,
the two worlds come into contact only by accident, disrupting the typical and normalized
division of the society. This “choque” is similar to the forced circumstantial interactions
among distinct groups in Pobre Rico, occurring both in the public sphere (street, barrio,
Mercado, etc.), increasingly accessible with new filming technologies, and in private or
privileged “espacios cerrados,” such as the Ruttenmeyer home or commercial office
Smeck 49
(Corro et. al. 2009, p. 89). These spaces are not marked by class only in their distinction
from one another, but also in their material and symbolic significance to the individuals
who either occupy or visit them. As the series represents through the characters actions
and dialogue, the Mercado, for Pelluco, his neighbors and co-workers, represents not only
a material livelihood, but also a shared cultural experience that unites many of its active
participants. This social reality is discursively favored in the show when contrasted with
the separatism and lack of collective identity within the society’s elite echelons. In the
final conversation between the unlikely lovers, Fernanda and Pelluco, on his deathbed,
the latter promises the former that when the two are married, they will have a party in the
Mercado “con toda mi gente.” It is the last thought he expresses before he expires, the
most important matter on his mind. The party occurs three months later with the opening
of a new restaurant in the Mercado, “Dónde Pelluco,” where all of Pelluco’s friends and
family are gathered, including los Ruttenmeyer, to celebrate his life. The final shot pans
out over the scene, showing the entirety of the Mercado, the celebrating crowd and a
cumbia band that proceeds through the central hall. The series concludes with a tonal and
thematic focus on the vitality, optimism and resilience of the community in the Mercado.
Another, less central discourse of class and morality through space appears
through the presentation of the nightclub where Shakira works as a dancer. In contrast to
the representation of the night club seen in Mi Nombre es Lara (1987), where the moral
issues associated with the space of the nightclub “La Nuit” are quickly resolved and
largely unaddressed, Amores de Mercado works through the moral complications of the
space, highlighting assumptions, socio-cultural insensitivities and limited viewpoints held
by certain individuals and groups within Chilean society. Esaú and his mother, deeply
Smeck 50
religious and traditional, become lenses by which the show is able to explore these moral
complications and introduce alternative viewpoints within the familiar framework of
conservative characters and voices. In the end, Esaú’s mother, Alicia, admits that, while
she may not understand Shakira’s work, she is finally able to accept her and give Esaú
her blessing to be with the woman he loves. In Amores de Mercado, the nightclub is most
often shown during the day, while Shakira and other employees of the club practice and
prepare for the evening opening; in this way, the space is treated more like a business
establishment and legitimate place of employment than it is in Mi Nombre es Lara, where
the nightclub is represented as little more than a dark shell where Lara’s “dishonest” and
immoral spectacle finds expression.
A 2003 teleserie called Puertas Adentro refers in its title to the Chilean “nana” or
live-in maid figure who has long been an important part of middle and upper class
Chilean society. This teleserie represents a leap in awareness of social issues from many
of the series previously explored in this work, with regards to issues ranging from class
distinction and political struggle to homosexuality. In the series, Claudia Di Girolamo
plays Erika Sandoval, the long-term nana in the home of the wealthy Martínez family in
Santiago’s upper northeastern region. Her fiancé, José Cárdenas, played by Francisco
Reyes, is the leader of a popular campaign to retake a territory that powerful businessmen
strong-armed from his poor and uneducated father years ago. Erika learns that the land
now belongs to her employer, causing tensions in both her relationship with José and the
Martínez family. The series raises conflicts related to the simultaneous proximity and
distancing of the “nana” figure as a second-class citizen occupying the same space as the
upper class family who employs her, considered on some level to be a part of that family.
Smeck 51
An independent film titled La Nana, released in 2009, addresses similar themes in a way
that is more thematically open and exploratory with regards to realities of race, class and
(un)fair treatment in the relationships between nanas and their employers.
The portrait presented in Puertas Adentro idealizes the nana figure, Erika, to a
greater degree than does La Nana, a later cultural production directed toward a national
and international viewing audience. One major avenue through which the teleserie alters
and idealizes the nana-employer relationship is the aesthetic element of race. Beginning
in the 1990s, an influx of Peruvian immigrants entered Chile to escape political unrest in
their home state. As of the 2002 census, the Peruvian migrant population in Chile was
about 60 percent female, with about 70 percent employed as domestic workers, forming
some 80 percent of all registered foreign laborers (Maher and Staab 2009). With
economic growth and demographic shifts in Chile, fewer Chilean women were filling
those domestic service roles, contributing to expansion in the market for Peruvian, female
domestic workers. Many of the Peruvian women, having fled the jobs and lives they had
held in Peru, brought with them a relatively high level of education, many of them
university or junior college graduates. The average pay grade of a nana was well below
the minimum wage until legislation was passed under the administration of President
Michelle Bachelet, raising the minimum salary that could legally be paid to a nana in
2006. Despite this reality, stigmas of race and class came to be associated with the job of
nana, resulting in further flight from the job by the Chilean women who had traditionally
held those roles.
Puertas Adentro does not reflect this reality, and in fact, contradicts it on multiple
levels. Claudia Di Girolamo is a fair-skinned, red-haired, natural born Chilean citizen
Smeck 52
who, as Erika, bears linguistic markers of low class and education. While her linguistic
patterns denote a lower socioeconomic status, her speech is uncharacteristically slow in
pace and idyllic in content. As she is leaving the Martínez home in the final episode,
having been fired suddenly by the matriarch, Mónica, Erika says to the heartbroken
young adult daughter of the family, Javiera, whom she raised, “Voy a guardar los
recuerdos bonitos y na’a má.” In an earlier episode, Erika makes a life-saving blood
donation to the eldest Martínez, the man who stole the land her fiancé is fighting to
reclaim, when no one else in the family is found to be a match. Later, Don Martínez
comes to Erika’s home to deliver a check, which Erika stoically refuses, saying, “Hice lo
que haría cualquier persona,” refusing notions of heroism placed upon her actions. This
pivotal moment challenges the delineation of the nana as merely an employee of the
household, but her continued discomfort with the family, especially Don Martínez, shows
the superficiality of any supposed “incorporation” into the family. In the final episode,
Erika admits to Javiera that she has spent more time with her than with her own children,
and asks Mónica Martínez to be sure to take good care of “mis niños.”
The dynamics of linguistics in Chilean society are portrayed in the series with
considerable adherence to linguistic realities. Erika, José and other characters associated
with the “toma” of the territory, or “campamento,” speak with linguistic alterations
previously explained in this work, including “r,” “s” and “d” deletion, altered verb
endings and slang forms. Javiera, the daughter of a very affluent Chilean family, also
speaks with alterations, including the altered “tu” form ending, around Erika, her
boyfriend from the barrio, Jonathan, and other young people, but not around her parents,
who do not speak with alterations themselves. Though the linguistic patterns in the show
Smeck 53
do reflect realities of class distinction in Chilean Spanish, they do not reflect the realities
of the typical, Peruvian “puertas adentro” domestic worker in Chilean society during the
era in which this teleserie aired. Though certain ideas and themes in the show are
markedly progressive, including the complex dynamic of the nana with her employerfamily and a subplot of homosexuality between two males involved in the toma, its
overall portrayal of the figure of the nana is regressive, reductive and idealized.
The idea of space becomes significant in Puertas Adentro in a different way than
TVN’s previous teleseries. The large and grandiose Martínez home, situated in a wealthy
neighborhood of the city, does not deviate much from previous representations of space,
even dating back to the teleseries of the 1980s. While the juxtaposition of this space with
the domestic spaces occupied by individuals of lower socioeconomic status in the show,
including Erika’s own family, remains significant in representing the class-based
segregation and dividing lines of the city, it does not register any significant change in the
way in which the domestic spaces of Chile’s upper class are represented on television. By
contrast, a space like the “terreno” or “campamento” undergoing the popular “retoma” in
the teleserie, has a much stronger socio-political context and message underlying it.
Through the conflict over the terreno, the series is able to give voice to populations that
have been manipulated and disenfranchised based on their socioeconomic class and
marginalized status. As in Amores de Mercado and Pobre Rico, space becomes a
manifestation of identity and community, representing and demonstrating a shared
historical context, ideology and cultural capital among the group of people who occupy
it. This identity is also, in part, defined in opposition to those groups who do not occupy
the space or belong to the community, creating an “us” vs. “them” dynamic. The
Smeck 54
importance of the shared space of the terreno can especially be seen in the final episode
of Puertas Adentro, in which the community confronts the team of bulldozers threatening
to raze the “terreno” and refuses to move until a compromise can be negotiated. After the
community wins out in this confrontation, Erika arrives on the scene and José proposes
and the two are married on the spot, surrounded by “nuestra gente” on the land they
historically owned and have just reclaimed.
CONCLUSIONS
The teleseries of TVN represent a distinct case within the genre of the telenovela,
within Latin America and around the world, for several reasons. As a state-owned and
independently financed television network, TVN differs fundamentally from many of the
dominant television giants in other South American countries. Corporate conglomerates,
like the massively influential networks Globo in Brazil, Televisa in Mexico and Cisneros
in Venezuela, are differentiated from Chile’s national channel in several ways, with
respect to their corporate structures, financing practices, programming strategies, and
distribution patterns. The distinct priorities of these organizations manifest in both the
informational news programming and entertainment content they produce, especially
fictional series and programs. In response to a trend of deregulation and
commercialization by European television networks during the 1980s, many Latin
American television networks began to follow a similar model, privatizing and
commercializing their own operations (Mazziotti 1996). Large networks like those of
Brazil, Mexico and Venezuela increased exportation, which had begun in the 1950s and
1960s, of their entertainment programming, especially telenovelas, within Latin America
Smeck 55
and beyond, to North America and Europe. The large networks, functioning as
commercial enterprises, quickly found that the entertainment content they produced could
not only gain heightened prestige, but also generate up to 20 times more revenue per
episode, if sold in Germany, Italy and Spain, for example, than in another Central or
South American country (Mazziotti 1996). Expansion of exportation to the African and
Asian continents followed.
As a result, the nature and content of these productions shifted dramatically. The
focus of the networks became centered on the production of the telenovela, its highestgrossing product, above all other media. Every aspect of these shows is strategically
chosen and planned with both the national and international markets in mind, from the set
to the soundtrack. These strategies differed among the countries; while Brazil’s Globo
projected an ideal of modernity, Brazilian folklore and “fantastic realism,” Mexico’s
Televisa produced telenovelas with a focus on melodrama and moralism (Mazziotti
1996). Mazziotti notes that the novelas in Mexico “tratan de no usar localismos ni
palabras en inglés… los protagonistas no beben ni fuman en escena…” (1996, p. 50).
This type of strategic content determination, excluding national particularities in order to
be more marketable on an international scale, differs significantly from the content
presented in the post-transition Chilean teleseries, as well as many of the series from the
transition period. TVN has been a state-owned public channel since its establishment in
1964 and, following the 1992 reform of the network, its goals to represent national
diversity and identity, and to direct its focus upon distribution within Chile, were made
explicit in the revised mission statement: “Reflejar a Chile en toda su diversidad,
contribuir a fortalecer su identidad nacional, y conectar a los chilenos en todo momento y
Smeck 56
lugar” (Retrieved February 2013, from http://www.tvn.cl). The structure of the channel
established in the reform includes a Board of Directors appointed by the President and
ratified by the Senate, aimed at protecting and fomenting the national channel’s mission
of public service. The current Board of Directors is headed by President Carlos Zepeda
Hernández, a corporate and commercial lawyer, and Vice President Marcia Scantlebury
Elizalde, a journalist who has focused her work on human rights, women’s rights and
proffering aid in projects including the preservation of the historic torture site Villa
Grimaldi and the establishment of the Museo de la Memoria under former President of
the Republic, Michelle Bachelet. Other members of the board include two lawyers, two
engineers, one businessman, one journalist, and a specialist in international relations.
Two of the nine board members, one being the Vice President, are female (Retrieved
February 2013, from http://www.tvn.cl). While the board is relatively diverse, its political
leaning tends to sway in the direction of the current Congress’ majority parties, the
center-right National Renewal and centrist Christian Democratic parties.
TVN also differs from other Latin American countries’ television superpowers in
that its most significant national competitor, Canal 13, holds approximately equal
influence and market share within the country. Canal 13 is owned by Luksic Group, an
investment group with holdings in the mining, financial, industrial and beverage
industries, and associated with the Pontificia Universidad Católica de Chile. Because the
vast majority of both Canal 13 and TVN teleseries’ viewers are within Chile, and since
both networks must maintain and defend their respective positions within the country
against a fairly even competitor, in what El Mercurio has called “La guerra de los
teleseries,” concern for international marketability is secondary (December 9, 2012). This
Smeck 57
is not to say that television production in Chile is cut off from international pressures or
influences by any means; in fact, Chile and other countries in the region have also
contracted many authors, directors, producers and other professionals from Globo in
Brazil and have often adapted plots and emulated techniques that originated in the
Brazilian context (ie. Jaque Mate). Nor has Chile rejected the export model of telenovela
production entirely. In a 2001 interview with TVMAS Magazine, General Director of the
TVN Board, Pablo Piñero, spoke of his plans to expand and internationalize the
network’s productions via three initiatives. First, in 2001, the network’s website,
www.tvn.cl, branched off from the previous www.tvchile.cl, which had be created in
1999. Second, the network continued the global expansion of its cable signal to other
countries spanning five continents, a process which began in 1995 through the Señal
Internacional Sociedad Anónima (Retrieved from www.tvn.cl, February 2013). The final
goal was to begin a process of exportation of local television productions on a global
scale. In the interview, Piñero recognized the importance and challenge of balancing the
goal of internationalization with a continued focus on fortifying national culture: “Pero
tal vez el principal desafío es que nuestro país ha entrado seriamente en la globalización y
nuestra televisión encara uno de los más grandes retos como es mantener la identidad, las
raíces, la cultura y la unidad” (TVMAS Magazine, June 2001).
The exportation model of Venezuela’s corporate conglomerate television
network, Cisneros, has historically placed more focus on national culture than some of
the other large television networks in the region in its strategy for international marketing
and export. The network’s productions are concerned with elevating the cultural level of
the collective citizenry and imparting Venezuelan culture abroad, with thematic focus on
Smeck 58
more sophisticated, educational and/or “high culture” topics involving art and literature,
history, science, biography (Mazziotti 1996). Cisneros’ television programs are produced
in adherence to specific, pre-planned schemas and duration in order to avoid pressure
from the network owners to extend the show or direct its progression of content in
response to ratings. As a result of this corporate structuring, market forces arguably
exercise less influence over the privately owned Cisneros’ television productions than
those of TVN, whose production is still very much influenced by its constant ratings and
share audience competition with other national and international television producers.
TVN’s proclaimed duty and service to the nation as a public channel and the pressures of
self-financing and market forces constitute an important tension within the national
network.
As this work has explored, a strong trend of nearly exclusive focus on the
socioeconomic elite of urban Chilean society seen in TVN’s early teleseries demonstrates
the influence of a larger trend throughout Latin America, in response to often miserable
social realities of economic hardship and political unrest during the 1970s and 1980s,
creating idealized imaginaries within these contexts in order to “manufacture the dreams
of a society” (Telenovelas: Love, TV and Power, 2003). In the Chilean context, social
realities, political authoritarianism and other hardships of the time feature minimally if at
all in the plotlines, dialogue and stylistic elements of the dictatorship era and early
transition period teleseries, despite some superficial exploration that claims to address
these issues. As Jofré argues, the Pinochet dictatorship altered communication on a
national scale by the “reduction and transfer of private independent and leftist modes of
communication to the authoritarian state” (1989, p. 74). State funding for propaganda
Smeck 59
campaigns eclipsed minority or liberal discourses in favor of conservative, market-driven
discourses smartly aimed at the masses, as a sort of “populist project” (p. 86). Elements
of these dominant and forced narratives and their effect on popular cultural productions
of the dictatorship era appear in the teleseries of the period, while the continued effects
and influence of these logics, I have argued, can be seen throughout the gradual process
of topical “apertura” that has occurred over the past two decades and will most certainly
continue into the future. While we must acknowledge that the national channel has
always been intentional about its role as an influential producer of national pop culture
and collective imaginary, directives aimed at more inclusive social representation began
to emerge only after the nation’s redemocratization .
With the official end of the military regime, its influence has gradually lifted and
shifted within Chilean society, the national channel, and other producers of culture across
the industries of entertainment and art, trending toward engagement in an evolving
rearticulation of its role and its representation of the context in which it is produced.
Particularly in the urban context where a majority of the nation’s population, cultural
activity and political power are centered, these shifts and have resulted in parallel
evolutions of television content, including thematic opening and diversification with
respect to not only the plurality of identities, but also representations of class in relation
to moral discourses. Despite this progress, representations remain mediated, albeit
perhaps less fundamentally, by the prevailing market logic, residual policies and
entrenched ideologies from the 17-year-long dictatorship. Corro et. al. argue that, under
the enduring dominance of the dictatorial logic during the early transition period, many
cinematic and television productions, among other forms of mass communication and
Smeck 60
entertainment, actively constructed “mecanismos de distracción, de optimismo, trivial o
cruel en un país en el que grandes grupos de chilenos sufrian restricciones económicas
exclusión social, y persecución política” (2009, p. 116). Though a more diverse array of
individuals and groups find representation in teleseries of the transition years, the means
by which these characters and their lives are represented bear markers of a limiting and
reductionary logic of class and other social distinctions. Teleseries of the early transition
years made efforts to “democratize” the genre by attempting to diversify the characters
and increase the visibility of certain marginalized social groups on television, but still,
characters across the entire spectrum of socioeconomic class are represented during the
early transition years in a manner that tended to reinforce accepted stereotypes rather than
challenge traditional notions of morality associated with certain social classes. A rightwing understanding of popular culture, one that catered to a depoliticized understanding
of the lower class, dominated the discourse of the genre during the transition period.
In the second decade of transition, with the reform of TVN’s mission, the national
channel’s teleserie gradually shifted from the previous two decades’ trend of
melodramatic storylines filled with wealth, romance and intrigue – only incidentally set
in Chile – toward an attempt to fictionalize (and, in so doing, exaggerate) actual social
realities of the nation and its diverse citizenry. With this change, evolving social and
political issues gained a platform through more nuanced representation in the cultural
productions of the national channel. Amores de Mercado (2001), despite its stereotyping,
simplification and exaggeration, marks an attempt to represent and legitimize the
activities, occupational roles and social standing of the working class and the spaces they
occupy. The show portrays prejudices within both the upper and lower socioeconomic
Smeck 61
groups through more complex characters and circumstances, offering alternative
perspectives to the stereotypical notions of class, morality and traditional market-driven
value systems presented during the dictatorial period. Puertas Adentro (2003) sets out to
represent a specific and particularly Chilean cultural phenomena of the “nana,” a
marginalized Chilean archetype with specific cultural significance. Though the show
portrays Erika, the nana, in a manner that idealizes and whitewashes her character, its
effort to recognize and legitimize the concerns, desires and emotional complexities
associated with the marginalized “nana” figure are progressive and predate later cultural
iterations in other media, such as the 2009 film, La Nana. The show also deals with more
liberal social and political topics and conflicts including land disputes, homosexuality and
teenage pregnancy.
Although the current moment in Chile has been called “post-transition,” I have
called it a third decade of transition, in which the presence and importance of current
social and political issues in the cultural discourse of the national channel’s teleserie has
significantly increased. TVN’s current teleserie, Pobre Rico, includes episodes that not
only respond directly to national political activity and social movements, but also
comment on and differentiate among the roles that individuals of distinct social classes
have played in the manifestation of social change, as well as the diverse ideologies they
have articulated within the current national context. For example, the issue of education,
being one of the most salient and divisive topics in Chile today, comes to feature
prominently in later episodes of the show, as Freddy and several of his friends and
neighbors participate in protests and proactive efforts to improve free public education at
the colegio level. Máximo Cotapos makes a show of his support of the “movimiento
Smeck 62
estudiantil,” in which many students of public schools and universities have organized to
demand free tuition from the state. In Episode 170, however, Martina, the blond model
who begins the show as Nicolás’ girlfriend, appears on a talk show to divulge her private
insights into Cotapos’ impure motives, accusing him of planting “infiltrados” to disarm
the student demonstrations. The episode’s political content is offered alongside further
social content and commentary, fictionalizing for public digestion a central debate on
Chile’s present-day political docket. The show’s idyllic portrayal of young activists like
Freddy, who must confront powerful adversaries in their quest to bring equal education to
the masses, reveals the network’s liberal leanings. While transition period teleseries
represented the lower class as depoliticized and marginalized from the national
collectivity, the third decade of transition, or “post-transition” period teleseries (ie.
Puertas Adentro, Pobre Rico), demonstrate a significant progression toward
incorporating discourses of heightened social and political agency and activism within
the lower class.
Thematic evolutions in Pobre Rico can be seen not only in relation to previous
teleseries, but also within the show itself. The dynamics of class-consciousness in relation
to space, for example, become more explicit as the show progresses, though in many
cases the representation of these dynamics remains problematic and reductionary. In early
episodes of the series, neither of the neighborhoods in which the Cotapos family or the
Rivas family live are explicitly named. In later episodes of the show, however, the
Cotapos family’s neighborhood is identified as La Dehesa, situated in the northeastern
comuna of Lo Barnachea, and the Rivas family’s neighborhood is identified as Cerro
Navia, one of the most densely populated and economically challenged comunas near
Smeck 63
central Santiago. As characters move between the two barrios and throughout the city,
great attention is paid to the spatial segregation of the city and the effect this segregation
has on the dynamics of social interaction among members of distinct socioeconomic
groups. The show also challenges typical notions of class division and determinism via
stylistic elements, such as linguistics. While at the beginning of the teleserie, Máximo
Cotapos is distinguished from Freddy, Eloisa and others from the barrio by his “proper”
manner of speaking and lack of linguistic alterations, pronounced transformations in
Cotapos’ style of speech, including increased speed, informality and linguistic alterations,
appear later in the series. Through this transformation, however, Cotapos also begins to
speak with a degraded level of sophistication and tact, as if his intelligence, level of
education, and even his sense of morality, have regressed. These changes are implicitly,
and quite problematically, attributed to his increased integration with the “lower class”
community over the course of the series, particularly with Eloisa Rivas, with whom he
develops an extramarital romantic relationship. Cotapos’ linguistic alterations are
juxtaposed with the character of Virginia, his wife, whose speech remains consistent
throughout the show’s progression. Although the transformation in the character of
Máximo Cotapos challenges simplistic notions of linear, class-based determinism, it
problematically appropriates and parodies stereotyped qualities associated with the lower
class, including unconscious informality, irrationality, moral degradation, impulsiveness
and lack of tact.
But while thematic and socio-cultural advances can be seen in Pobre Rico and
other late transition teleseries with regard to thematic areas, especially challenging simple
narratives of apoliticism and class-based determinism, the progressive nature of the
Smeck 64
national channel’s social narrative has its limitations and shortcomings. Though Chile is
not a country in which a significant portion of the population is of indigenous origin, nor
is indigeneity a very significant part of the nationalist narrative of Chile, the country does
have a large mixed racial presence and immigrant influence from countries both within
Latin America and beyond, including Germany and several Asian countries. Whether
marginalized in society or not, these minority voices do not feature with any prominence
in present-day Chilean teleseries. The cast of characters on both TVN and other networks
in Chile is almost entirely homogeneous racially, despite the narratives of diversity and
difference many characters might purport to represent. While plurality can be seen in a
series like Pobre Rico on the levels of social class and socioeconomic status, minority
populations based on race, sexual orientation and other social distinctions are markedly
excluded. Aside from the plain fact that the Chilean body of television actors is largely
composed of mostly wealthy, white Chileans of European descent, historical international
conflicts have led to discourses of severe racial bias in Chile and contributed to the
favoring of certain immigrant populations and exclusion or marginalization of others.
One of the most influential racial dynamics and discourses involves the tense history of
relations between Chile and Peru, dating back to the War of the Pacific and up through
the present-day Maritime dispute. Peruvian immigrants are often viewed and treated as
racial and social inferiors, whereas European and North American immigrants, for
example, are exalted in the social, cultural and sometimes even political spheres.
This study has engaged significantly with one of the most influential studies of
Chilean television and cinema of the transition period, Melodrama, Sujetividad e Historia
en el Cine y Television Chilenos de los 90, produced by researchers Pablo Corro, Valerio
Smeck 65
Fuenzalida and Constanza Mujica of the Universidad Católica in Santiago. Their work
explores a decade of transformations in historical reflexivity and intermediality, and their
relation to socio-cultural, economic and political shifts during what I have named the first
decade of transition. With a narrowed focus on fictional television series of the national
channel, this work has sought to elaborate and engage with the arguments presented in
Melodrama and other cultural studies over a period that extends to the current moment in
the narrative of Chilean television. Melodrama provided useful historical context that
came to bear significantly on my analysis of not only television shows of the 1990s, but
also those produced during the dictatorship and after the first decade of transition,
continuing into the first and beginning of the second decades of the new millennium.
Through my own research, I have examined evolving social and political trends,
patterns and dynamics in Chilean society, principally neoliberal economic development,
globalization-oriented capitalism, political reform, socioeconomic classification, spatial
segregation, migration trends and social marginalization, to analyze how these social
realities relate to the issue of class and class representation in the teleserie as a mediated
cultural influence. This study’s specific focus on teleseries produced by the state-owned
and independently financed national channel, TVN, whose proclaimed role following the
1992 reform of its mission is to represent diversity, plurality and culture of Chile, has
allowed for more direct correlation and analysis of the genre’s thematic evolution as it
parallels and confronts the ongoing evolutions in Chile’s social and political landscape.
This analytical study has examined thematic progression and “apertura” in the portrayal
of socioeconomic groups in teleseries of the transition periods, as well as the apertura’s
limitations, arguing that changes in the official classification of these groups, the
Smeck 66
influence of market logic and dominant depoliticized notions of popular culture and the
lower class, especially within the urban context, have influenced the manner in which
distinct cultural and socioeconomic groups are represented in Chile’s teleseries.
REFERENCES
Adimark Investigaciones de Mercado y Opinión Pública (2002). Mapa Socioeconómico
de Chile: Nivel Socioeconómico de los hogares del país basado en datos del
Censo [PowerPoint slides]. Retrieved from Adimark website:
http://www.adimark.cl/informe_mapa_socioeconomico_de_chile.pdf
Allen, Robert C., ed. To be continued: Soap operas around the world. New York:
Routledge, 1995. Print.
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of
Nationalism. London: Verso, 1983. Print.
Asociación Chilena de Empresas de Investigación de Mercado (2008). Grupos
Socioeonómicos [Annual Report]. Retrieved from AIM website:
http://aimchile.cl/.
Bentivoglio, Paola and Mercedes Sedano. “Morphosyntactic Variation in SpanishSpeaking Latin America.” The Handbook of Hispanic Sociolinguistics. Manuel
Díaz-Campos, ed. West Sussex: Blackwell Publishing Ltd, 2011. Print.
Corro, Pablo, Fuenzalida, Valerio and Constanza Mujica. Melodrama, Subjetividad e
Historia en el Cine y Televisión Chilenos de los 90. Santiago: Facultad de
Comunicaciones, Pontificia Universidad Católica de Chile, 2009. Print.
Dockemdorff, Eduardo, Rodriguez, Alfredo and Winchester, Lucy. “Santiago de Chile:
Smeck 67
metropolization, globalization and inequity.” Environment and Urbanization. 12.1
(2000): 171-183. Print.
El Mercurio. (2012, April 28). “Exitoso debut de "Pobre Rico" lo convierte en el
programa más visto de la semana.” Retrieved October 2012, from
http://www.emol.com.
Fitch, Roxana. “Flaite.” Diccionario Jergas de habla hispana. <http://www.jergasdehablahispana.org/?paise=Chile&palabra=flaite&tipodebusqueda=1>. 13
Jan. 2012.
Fuentes, Luis and Carlos Sierralta. “Santiago de Chile, ¿Ejemplo de una Reestructuración
Capitalista Global?” EURE (Santiago). 30. 91 (2004).
García Canclini, Nestor. Hybrid Cultures: Strategies for Entering and Leaving
Modernity. Minneapolis: University of Minnesota Press, 1995. Print.
Joelson, Daniel. Chilenismos Dictionary and Phrasebook. New York: Hippocrene Books,
2005. Print.
Jofré, Manuel Alcides. “Culture, Art and Literature in Chile: 1973-1985.” Latin
American Perspectives. 16.2 (1989): 70-95. Print.
Koch, Max. “Changes in Chilean Social Structure: Class Structure and Income
Distribution between 1972and 1994.” Revista Europea de Estudios
Latinoamericanos y del Caribe. 66 (1999): 5-18. Print.
Maber, Kristin H. and Silke Staab. “The Dual Discourse about Peruvian Domestic
Workers in Santiago de Chile: Class, Race, and a Nationalist Project.” Latin
American Politics and Society. 48:1 (2006). 87-116. Print.
Mazziotti, Nora. La industria de la telenovela: La producción de ficción en América
Smeck 68
Latina. Buenos Aires: Editorial Paidós, 1996. Print.
Medina-Rivera. “Variationist Approaches: External Factors Conditioning Variation in
Spanish Phonology.” The Handbook of Hispanic Sociolinguistics. Manuel DíazCampos, ed. West Sussex: Blackwell Publishing Ltd, 2011. Print.
Moulián, Tomás. “La matriz del Chile actual: la revolución captialista.” Chile actual:
anatomía de un mito. Santiago: Lom, 1994. 25-36.
Monsiváis, Carlos. Aires de la Familia: Cultura y sociedad en América Latina.
Barcelona: Editorial Anagrama, 2000. Print.
Niño-Murcia, Mercedes. “Variation and Identity in the Americas.” The Handbook of
Hispanic Sociolinguistics. Manuel Díaz-Campos, ed. West Sussex: Blackwell
Publishing Ltd, 2011. Print.
Opazo, Cristián. ““Sexo, drogas y reggaeton’: lectura de HP (Hans Pozo), de Luis
Barrales.” Latin American Theatre Review. Kansas City: Spring 2011. 1-20.
Puga, Ismael. “Escuela y estratificación social en Chile: ¿cuál es el rol de la
municipalización y la educación particular subvencionada en la reproducción de
la desigualdad social?” Estudios Pedagógicos. 37.2 (2011): 213-232. Print.
Romero, Hugo, et. al. “Assessing urban environmental segregation (UES): The case of
Santiago de Chile.” Ecological Indicators. 23 (2012): 76-87. Print.
Sabatini, Francisco. “Land Market Reform and Residential Segregation in Chile.”
Chapter 11. Retrieved October 2012, from http://www.territorioysuelo.org.
Sabatini, Francisco, et. al. “Segregación residencial en las principales ciudades
chilenas: Tendencias de las tres últimas décadas y posibles cursos de acción.”
EURE (Santiago). 27. 82 (2001).
Smeck 69
Subercaseaux, Bernardo S. “La cultura de los gobiernos de la concertación.” Universum
(Talca). 21.1 (2006). 190-203. Print.
Telenovelas: Love, TV and Power. Dir. Alexandre Valenti. Films for the Humanites
& Sciences, 2003. Film.
TVMAS Magazine. (June 2001).“TVN de Chile: Camino a la exportación de telenovelas.”
Retrieved February 2013, from http://www.tvmasmagazine.com.
Vargas, Miguel. (2006) “Causes of Residential Segregation: The Case of Santiago,
Chile.” Centre for Spatial and Real Estate Economics, Department of Economics,
The University of Reading.